Sunday, February 11, 2018

a few extended thoughts on Alastair Roberts' writing and the inevitable male/female questions he grapples with

Over the last three years I've intermittently read the blog of Alastair Roberts, and with decreasing interest.  I still read it from time to time but as his career progresses he seems more shunted into a rote part that can be played by any number of conservative Christians in the Anglo-American idiom.  This part is the social observation guru and the matters of social observation tend to fall into one of two categories--sex/gender/sexuality on the one hand and politics on the other. 

Well, there's also occasionally stuff at a platform like Mere Orthodoxy where the question of why there aren't Christian intellectuals comes up but that's arguably peripheral to Roberts' commentary. 

In the last few years it can sometimes seem that despite his reading Roberts can get, well, lazy.

Take this old piece about the problems with "strong female characters", published at Mere Orthodoxy about a week after the trailer for Rogue One dropped.  In an era in which thanks to steady reshooting activity in late production such as happened with the Star Wars film and has happened regularly with tentpole releases, building a commentary around a few bad lines of dialogue (from a Star Wars film, no less, a franchise whose established reputation for howler dialogue would seem pretty well established after forty years) seemed precipitous.  We live in a time in which what you see in the trailer may end up being footage or scenes that never even appear in the movie, reshoot schedules can be that tight.   As to arguments against the cliché of the strong female character Overthinking It handled that in such a magisterial fashion back in 2008 after the first Michael Bay Transformers film came out Roberts wasted his time. 

Unless, of course, the magisterial rebuke needed to come from somewhere roughly to the "right" rather than a "left" on the issue of gender and social convention, in which case some kind of conservative Anglican response would be in order.

So there was a case made about attempts to shoehorn traditionally and conventionally masculine arcs from the hero's journey onto a female character that did violence to the teleology of our gendered existences.  Now I own most every Hayao Miyazaki film ever made so I'm never going to debate Roberts on the merits of one of the most brilliant creators of animated film of the last half century.  And I enjoy Jane Austen novels, too. 

But in the twenty years since Buffy the Vampire Slayer became a thing on TV feminists have managed to come around to articulating a criticism of Joss Whedon's waif fu as an ultimately negative influence on popular culture.  There's not a whole lot in what Roberts had to say that hadn't already been articulated in a more cogent and readable fashion by, well, feminists. 

Take this, though:

The recurring characterization problems with such Strong Female Characters arise in no small measure from the struggle to show that men and women are interchangeable and can compete and cooperate with each other on the same terms. As I have already noted, this falsehood serves no one. It sets women up for frustration and failure as they have to justify their agency on men’s terms and it produces an embarrassment about male strengths that should be celebrated rather than stifled. It reflects a drive towards intense gender integration and de-differentiation in the wider world.

The traditional world of women—typically a different existential and intersubjective mapping of spaces that were shared with men—has been reduced through the migration of work away from the home, the expanding social role of the state and its agencies, the shrinking and contracting of families, the thinning out of neighborhoods, and the removal of much of the burden of domestic labour through technology. One’s value in society has also become increasingly contingent upon advanced educational attainment, career, wealth, and consumption. Within this new situation, women have had to forge new identities within worlds created by men and which play to male strengths. Shrunk to a sentimental reservation of domesticity, there is relatively little dignity to be found in what remains of traditional female worlds in most Western societies.
 
I remember one of my relatives saying to a coworker that he got the impression that the vision of feminism was that women could and should rise to the highest levels of management and strategy as a way of achieving equality with men, not by way of doing the thankless shitty jobs at the bottom of the company pecking order for low end wages doing the things that somebody has to do but that people find boring.

To borrow lingo from Joseph Campbell, the hero's journey is supposed to involve the call to adventure and challenge and discovering the boon.  It's not expected to take the form of you punch in for your day job, punch out after you've done the day's allotted work (maybe), and then go home and live that way day after day, week after week. month after month, and then year after year for so long as you can stand to do the job for the compensation you get.  The traditional world of women, whatever Roberts imagines it to be, was not a world in which everyone in a post-industrial economic system could be construed as interchangeable cogs in a production machine. 

But let's suppose the hero's journey and the trope of adventure itself is the greater, deeper and more pernicious lie--in that case then the problem with the strong female character isn't really that she is somehow bidden to have the hero's journey by way of Rey that was supposed to be Luke Skywalker (or "Jake" Skywalker), the problem is that the call to adventure only means anything to those people who imagine themselves to be some kind of John Galt in a world full of abject mediocrities.  We're told by way of movies and literature and TED talks and self-help books that we can discover the Luke Skywalker or Han Solo or maybe, too, a Princess Leia or Rey inside us when, in fact, we live in a world and work in a world where we're more likely to be a storm trooper (and not Finn) or Porkins or maybe Boba Fett in the "gig economy".  We might have a killer costume and then get unceremoniously knocked into the Sarlac by a blind guy with a stick who isn't named Matt Murdoch.

There is relatively limited dignity to be found in any rank and file job these days, regardless of gender.  Anyone who has moved far enough along in academia to get a master's degree or a doctorate is going to be ensconced in that kind of culture.  It's not always necessarily a bad thing.  Yet, to make this in a pointed way, some guy who was a preacher here in the Seattle area used to quip about guys who had seminary degrees but no real world experience.  He, of course, would go on to get a master's degree in exegetical theology without so much as demonstrating by way of his sermons that he could exegete a Hebrew text without perhaps consulting a lake of secondary literature--but the argument could be made all the same, that there's a point past which academic achievement involves a journey inward towards an ivory tower where the theorizing you pick up from study has nothing to do with a bunch of guys whose job it is to swing a hammer for a living. Something similar could be said for people in cubicle work whose 9-5 or 8-4 or whatever the hours are existence leaves little room for being agentic  and all that. 

Roy Baumeister has written that one of the traits of masculine socialization and social groups is that the burden of proof is upon you, as the individual man, to make a case you should even be part of the team, and that broadly speaking the threshold beyond which a boy becomes a man is simply that he produces more than he consumes.  In that sense, a crisis of masculinity would seem completely moot.  So long as you produce more than you consume you have become not just a man, but arguably simply an adult, regardless of gender.  But ... of course ... without rites of passage to communicate clearly that such a threshold has been reached how do you know for sure that you've attained that point?  Most of the attempted jokes at "adulting" have never landed as funny to me over the last ten or so years.  When I was a kid I was not sure that whatever this being "grown up" was supposed to be about that it was much to speak of.  That's not to say that growing up and becoming a responsible adult isn't important or necessary, it's saying that when I was a kid and heard other kids tlk about how much better everything was going to be when they became adults I didn't believe that then.  I don't believe it now.  People become adults but there's no necessary advantage to becoming one, just a different set of responsibilities to be navigated.  Not everyone navigates those responsibilities and in some cases those responsibilities in the form of social expectations can be hired out to be done by other people.

And there's a cottage industry of self help books to help you figure out how you want to tackle that "adulting" stuff if you feel you're not up to all or parts of it.

It's not that Roberts doesn't have moments of lucid observation.  He can sum things up well enough:

https://alastairadversaria.com/2018/02/10/on-men-shame-and-brotherhood/
...
Summing up, Dr Bradley’s thread puts its finger on the key issue of male shame and identifies part of the reason why Peterson so resonates with young men today. However, I believe that he doesn’t go far enough in identifying its causes. Male shame chiefly results from the subjection of isolated men to increasingly unattainable and contradictory demands that set them up for blame-ridden failure. Men’s struggles also can’t be understood apart from a recognition of the loss of male community and the individualization of male identity. Peterson recognizes men’s stifled natural hunger for virility and speaks to it, holding out to men the possibility of attaining a true manly dignity, while relieving men’s burden of shame in the process.

The increasingly therapeutic framing of masculinity is largely a result of the lack of male community in a gender-neutralizing society. Denied such community, masculinity will increasingly be experienced as a wound that needs to be tended. People like Peterson may be helpful in enabling some men to recover a measure of manly dignity. However, they really can’t substitute for the organic reality of male community. The response to the contemporary crisis of masculinity is not going to be a new and better theory or self-help programme for individuals (which, for all his strengths, is where Peterson largely leaves us), but must be a recovery of robust, deep, and enduring intergenerational male community pursued in meaningful and productive activity.

The patriarchy can, even with a pejorative definition, be understood as the propensity of enough males with power and influence conflating what is in their best interests with the interests of common human flourishing.  In other words, even if one isn't a feminist it's relatively easy to understand the shorthand that the patriarchy entails, a reference to white anglo-saxon protestant imperial cultural expansion as a herald of what was regarded as the spread of "universal" human values and human rights that, in rather simple historical terms, accrued mainly to a set of aristocratic castes.  I don't think a person even has to be in any way feminist to get that that's the concern of feminist scholars about what they regard as patriarchal systems.

Let's briefly consider an idea here, that there's potentially no such thing as "inherent" human dignity.  You can't just assert that you have dignity and expect to be treated with dignity. Dignity is imputed. It can be received but it cannot be coerced into being given to you by someone else if you don't have it. 

And there may have always been a crisis of masculinity ever since ... Genesis 3.  A robust, deep and enduring intergenerational male community pursued in meaningful and productive activity sure happened, for a time, at Mars Hill ... and we saw how that played out.  I think we need to have some fair warning that the first time in Scripture we see a bunch of men across generations (tacitly noted in the text) pursuing meaningful productive activity out of a concern for legacy was builing some tower on the plain of Shinar.  Sure, there was that family project of building a boat ... but that wasn't quite the same thing. 

As to the process of subjecting isolated people to increasingly unattainable and contradictory demands that set them up for blame-ridden failure is probably also applicable to young women today, too.  In a contemptuous write-up about a Billy Joel album, Robert Christgau once noted that Joel said that anything less than everything was a cheat and that this, Christgau speculated, reflected the overweening entitlement of the Baby Boom generation.  No generational bias there, eh?  But let's go back to Joseph Campbell's "boon" that the hero recovers.  Campbell's debt to Jungian ideals was cleared up within the first fifty odd pages of The Hero with a Thousand Faces. It would seem, paradoxically, that the Jungian stream of influence on popular culture mediated through the likes of Joseph Campbell has made the hero's journey so prescriptive at the level of popular culture that being some ordinary man or woman who is a citizen of a society and works quietly is in many respects off the table.  You can't just be a normal person but a god or goddess whose actions and agency reshape reality as we know it. 

Let's just throw out an idea for people to chew on, post industrial capitalism has no real use for gender differentiation except as a locus for differentiating market demographics.  Never mind the patriarchy theorizing on one side or the endless handwringing about the enervating influence post-gender modernity with its deleterious effect on the virility of men in vague and abstract terms.

If you formulate a rite of passage that has a specific goal in mind and rites of recognition, which was what Driscoll and the leaders of Mars Hill managed to do with Dead Men as the stage two of Pussified Nation, you can create a, for a time, tight knit community of men agreed upon a purpose.  But even here Roberts noted the Driscoll video of "how dare you!?".  He speculates at length as to how and why the shame-based motivational method is popular with conservative preachers and teachers.  This seems less complex or profound than Roberts' posting makes it seem--per Roy Baumeister's taxonomy of male sociality and rites of recognition, if a boy becomes a man by producing more than he can consume, and if participation in a male social unit is predicated on demonstrating that by way of competency and/or group loyalty you have a reason to be admitted into and recognized as part of the group then the shame based motivational speaking approach has a very, very simple goal in mind--it's a warning to those men who may be considered to have failed the goals of production-over-consumption and deserved competency-based and character-based in-group participation that their membership card can and possibly soon will be revoked.  If women have social groups in which the threat of ostracism over a failure to perform successfully leads to shame-based motivational speaking then so it goes, but the implication or invocation of half a dozen reasons as to why men get shame-based motivational teaching and instruction seems overcooked. 
It's not that hard to understand that in a male social system your membership card could be revoked, you could get kicked off the team.

For the most part (as yet) Roberts has not been in a rush to articulate what a positive formulation of male society might actually look like.  In that respect he's less useful than someone like Mark Driscoll was, who at least was point blank enough to say his goal was to find those males he considered capable of forming the establishment of the future, courting their interest, and giving them something to do for Jesus' fame, if for a Jesus who was carefully reverse-engineered to look astonishing like Mark Driscoll's own interests and agendas. 

Roberts said so himself he prefers to not bee tooo very detailed about exactly what healthy iterations of masculinity have to look like because things will look different in each case.  At one level that's prudential, yet at another level it's a fairly epic cop out.
 


 
 
I think our approach should be a prudential one that brings together a number of considerations: 1) the gender roles on offer within our specific culture; 2) the Christian teaching that has bearing upon male roles; 3) the specific form of our own maleness [emphasis added]; 4) the natural and moral criteria by which the effectiveness of any culture’s gender roles can be measured. I believe that we should ideally practice a form of masculinity that is grounded in our context, enabling us to enjoy kinship with other men in our cultures. These models must be leavened by Christian virtues, which challenge much that passes for masculinity in various contexts, unsettling macho cultures, misogynistic cultures, and many forms of male honour culture. Christian teaching also pushes us towards a masculinity of service. Then we consider the sort of men that we are, and how we best develop and live out our own maleness in our very specific context. Manliness for each of us starts and ends by taking dominion in the selves and the situations within which we find ourselves (this is why Peterson’s ‘clean your room’ is such a good starting point).
 
...
Now it's quite possible to suggest that one of the signal problems feeding into a crisis of masculinity in our times (bearing in mind there's always going to be one) can be that the gender roles on offer within our specific culture (whichever one that is) can often (as noted earlier) be impossible to fulfill in light of the specific form of our own maleness.  This tension between the expectations inherent in 1 and the possibilities that can be realized in 3 was something I remember hearing friends from my Mars Hill period expressing extreme frustration about.  There were men who knew what the culturally endorsed script of masculinity was supposed to be and despaired of ever attaining it.  I tended toward the surmise that since the script was unattainable and probably ultimately insane there was no point in even attempting it.  Why try to go do what can't be done?  But there was a tension and the tension, for anyone who heard even two of eighteen years worth of Driscoll sermons, was that Mark (and Grace, too) explicitly and implicitly held themselves up as embodying and successfully attaining the goals and benchmarks of the prescribed modes of masculinity and femininity articulated in teaching and preaching.  That was why as the narrative presented in Real Marriage had time to marinade in the public sphere doubts about whether Mark and Grace Driscoll had really lived up to and lived out any of the ideals they espoused became a real question for members and probably even staff. 

That gets us to 2, ,and the problem being that a great deal of what passes for 2, ,Christian teaching that has bearing upon male roles can often seem to be nothing more than a ratification of a set of categories from 1, the gender roles on offer within our specific culture.  The possibility that the specific form of our own maleness might put us, so to speak, completely at odds with either 1 or 2 is not necessarily something Roberts has addressed but I don't doubt that for those former Mars Hill attenders and members attending gay friendly churches a tension between what 2 was in the teaching of Mark Driscoll and the 3 experienced by men and women with same sex attraction could reach a breaking point.  Roberts 4 is, in many practical senses, a completely meaningless category.  Is the baseline of measurement individual flourishing, social cohesion or something else?  The tensions inherent in 1 through 3, at this point, have been noted. 

The other reasons 4 doesn't particularly matter ... is in Roberts' comment as follows:
 
 
I am very much opposed to aligning myself with any one particular vision of masculinity. We should be practicing many different forms of masculinity and practicing these different forms of masculinity in ways that differ according to the men that we are and the contexts in which we find ourselves. Every model of masculinity our there is broken in some way. However, we should work to redeem healthy visions of masculinity in the contexts in which we find ourselves. This will almost certainly look very different for you than it looks for me.
 
If you refuse to put a label on it then what you're saying can't be pre-emptively dismissed as appealing to an ideology or asset of stereotypes.  At one level that is good inasmuch as you're not attempting to distill everything to be said on the subject down to a set of bromides and formulas.  Granting that there is not necessarily any one ideal for masculinity and that the forms of masculinity on offer by the world are marred by sin is a useful and necessary observation.

But then there is the rather simple and blunt question of why, if this is so obviously the case, someone like Roberts should have any answers at all as to what masculinity in a healthy form is as distinct from what it isn't.  For all sorts of non-Marxists the problem with Marx was not so much that he failed to articulate what the problem was with the capitalism of his time and place, the problem was that as non-Marxists see it, Marx's proposed solution was nothing more than a hand-waiving proclamation that there would be a revolution and things would get fixed.  That is, well, not so different from an eschatological crisis event that ushers in a new utopian era and ... don't we have the oracles of the prophet Isaiah already?  So it is with someone like a Roberts, it's easy enough to point out what the toxic modes of masculinity are, indeed all sorts of progressives have been talking about toxic masculinity for a few years now, so there's nothing much to be said for observing that masculinity can be like capitalism.  The question of what the healthy vision of masculinity is going to look like is less clear. 

But ... this is the same Alastair Roberts who wrote about why women should not be priests and had concerns about the cliché of the strong female character inspired by a reaction to a trailer for a movie in which one of the more memorably stupid lines in the trailer didn't actually end up in the theatrical cut of the movie, i.e. Rogue One.  I saw Rogue One, I even liked Rogue One, but what sold me on a matinee wasn't the Jyn Erso character but the fact that Donnie Yen was in the film and I dug Iron Monkey and the Ip Man trilogy and thought Hero was decent.  Before I heard the news I wasn't interested in Rogue One, and then when I heard Donnie Yen would be in it I decided, sure, now this interests me. 

Overthinking It had a more interesting rebuttal to the strong female character cliché more than a decade ago when it hit a notable low in the form of Megan Fox talking about her character was a strong female character in the promotional campaign for the first Michael Bay Transformers film. If Micaela Barnes could be a "strong female character" then the cliché had been drained of practical meaning even in terms of cinematic fantasy.  Now ... there's a case to be made that Optinus Prime was constantly getting saved by late-stage adolescents for the entire franchise but that's an argument for some other context.  One of the more salient jabs in the piece, if Alastair Robert read it he might remember it, too, was made by way of observation--sure, the damsel in distress was a damsel in distress in the old films who had to be rescued by some guy but the some guy was generally played by a Cary Grant or a Humphrey Bogart or, in more recent films, by a Harrison Ford.  So it wasn't all bad. 

Then by Michael Bay's Transformers Micaela is the trophy for ... Sam Witwicky?  Shia Labeouf?  Ladies, we have a problem.  When this is the guy who gets the trophy girlfriend ...  something has gone awry.  Roberts could probably agree something has, in fact ,gone awry, when a whiny petulant weasel-boy with an entitlement complex is the protagonist of a story whose only avenue to participation is, as gets demonstrated by the end of the fifth film in the franchise, functionally a celestially granted birthright dating back to the days of King Arthur.  If anything that particular case study becomes more terrible as the franchise has rolled on.  In the end, the "strong female character" is window dressing for some far more conventional trope to which the female character is generally expected to eventually conform to in the action genre, at least in Anglo-American contexts.  Michelle Yeoh movies are ... not quite the same thing but that's not really something I want to post about just now.

And as Overthinking It's author put things, it was a bit more vividly illustrated why the "strong female character" trope was not just stupid but insultingly stupid to both men and women alike.  Roberts' objections amount to artfully assembled bits of browbeating invocations of clichés about socialization and gendered norms. 

And this is why what he writes, as much as I often agree with it, comes across like a set of useless, generic bromides. It is also why, should an egalitarian read what Roberts has to write about these topics, he comes across like a fusty English man of the sort who doesn't want to just concede he's fundamentally appealing to a series of rote clichés about gender in the foundational nature of what he's ultimately arguing for, and is only able to avoid this charge by dint of being so deliberately vague as to preclude the possibility of being identified as appealing to natural law and essentialist accounts of identity.  Even progressives who fully on board with LGBTQI causes would grant, pretty readily, that the complex of variables that socially and biologically inform sexuality and gender in any individual are complex. 

There could be two ways in which to understand what's presented as a crisis of masculinity in contemporary post-industrial Western society, rather broadly construable at the level of class. 
 
As noted earlier, there’s an unresolved tension across 1, 2 and 3 that isn’t addressed. There’s a tension between the gender roles on offer within our specific culture at two levels, first with Christian teaching that has bearing upon male roles and then with specific forms of maleness.  I.e. more and more males in the middle class don’t WANT to fulfill their culturally scripted roles as they have been handed down in culture (I.e. the slacker bro).  Males in the lower classes are finding that they CAN’T fulfill those roles or scripts of masculinity that are proffered as the passage into adulthood for men, though it is precisely those masculinity scripts on offer that are least practically attainable for these kinds of men that people in formal teaching positions with academic or ecclesial clout keep making a point of telling men they should be fulfilling.  Depending on the nature of the cultural scripts for manliness on offer the can be, arguably,  roles on offer that are considered inimical to Christian teaching that has bearing on gender roles.   

At the level of the middle and upper classes there can be a crisis perceived in the way that those men who could embrace the scripts of masculinity on offer in 1 are simply not doing so or, for Christians, the men who are embracing the scripts on offer are doing so in a way that violates 2, or that insists that 3 is completely up to what amounts to consumer power because it doesn't really exist and 4 is right out.  For those who are part of those classes that are capable of shaping cultural discourse that's not seen as a problem and, if anything, the problem is perceived as an unwillingness on the part of any number of groups to not regard 3 as a consumer option. 

The crisis of masculinity at a more general level of presentation within Anglo-American Christian discourse could be construed as a crisis of the failures of the underclass males to live up to roles expected of them in category 2, though roles in 1 are dwindling in the post-industrial West in terms that fit 2 and if males are caught on the horns of such a dilemma in which 1 and 3 don’t seem possible or 1 is obtained via 3 in a way that subverts 2 then we’ll get a bunch of males making the social and economic decision to do that, as the neo Reformed have been bleating about for decades.
 
Roberts is, however, aware that capitalism and its attendant social changes have had a role to play in the emergence of things like feminism.
 
…
 
§  1. a. No, I think that would be a simplistic claim. Male tyranny is part of the picture, but there is a lot more to it than that. Much contemporary feminism wouldn’t exist were it not for the technologically advanced capitalist society that we live in. The Industrial Revolution and subsequent developments led to the radical disruption, destabilization, or breakdown of the gendered social orders that preceded it. These old orders often involved a great deal of abuse (much as the new order involves a lot of abuse), but it wasn’t the supposed structurally abusive character of the old patriarchal order that gave rise to feminism, so much as the situation that arose as it crumbled before other forces (as Marx observed, wherever the bourgeoisie gained the upper hand, they ‘put an end to all feudal, patriarchal, idyllic relations’). Familial bonds and the societal structure arising from that were eclipsed by detached market relations between individuals. Labour rapidly migrated from the domestic and related realms to the capitalist workplace. As a result, women were increasingly marginalized and the household, no longer the primary site of production and social reproduction, became a reservation ever more detached from the meaningful life and activity of society.
 
So if we get all those women married off and back in the kitchen things will get better? The proposal that industrialization and capitalism combined to marginalize women might be a contested way of reading history there.  We're a century past the suffragette movement and some of those figures were admirable and some of those figures were basically terrorists.  Whatever was thought lost with the emergence of modernity, modernity isn't going away. 

This next part could be particularly contentious for at least some feminists and a number of women I know.  Roberts proposed there was a trade off ... :

Women have traded the sort of sexual power that they generally enjoyed in less developed societies for an independent economic power that allows them to compete more directly with men as detached, yet weaker, individual agents. In both societies, women had to deal with male power, which can often be abusive, but feminism is in large measure an adaption to a situation where the dynamics of male power creation have seriously unsettled the sorts of order that exists in less developed societies. The Industrial Revolution was a sort of radicalization of the male libido dominandi, through which it became increasingly untethered from the female creational calling. Where the male libido dominandi so sets the terms, women are faced with the choice of merely submitting to their marginalization, finding some way to tether the sphere of male action more firmly to the sphere of female action so that they might better overlap and intertwine again, or abandoning traditional female spheres to compete on men’s terms and realms, and perhaps feminize male realms a bit. The chosen trade-offs mean that women are largely competing at a disadvantage on the same terms as men, rather than exercising a different species of power over against them. It means that, rather than being arrested, a radicalized libido dominandi is made a largely unrivalled principle of society’s life, even though in the long term it is probably unsustainable.
b. The virtues are manly because they are the virtues that are sine quibus non for the realization of mature manhood. While such virtues can clearly be found in women too, they are not so distinctively prominent in the firmament of ‘womanly’ character. Manliness is, in practically every society, recognized to be a matter of realized agency. A man must ‘prove’ himself to be a man, while women’s entrance into womanhood generally takes a different sort of form, in which tests and demonstrations of agency are less prominent (although some measure of proof of agency is necessary for demonstration of adulthood). Self-mastery, competence, honour, and other traits like them are all features of well-developed agency, of a man’s capacity to function as a force out into the world. Manliness also takes masculine traits and elevates them to a more honed and realized form, ensuring that virility is expressed in a self-controlled but powerful manner. Manliness enables men to realize the calling that especially falls to them, as the task of dominion and subduing the world are placed more heavily upon the shoulders of men, while the tasks of fruitfulness and multiplication are placed more heavily upon women. [emphasis added]
 
At this point I've written a lot on the matter, more than I had initially intended to, but I would propose that the tricky phrase in the end of this excerpt is "the task of dominion".  If the dominion mandate was not revoked by given difficulty (i.e. an impossibility) of fulfillment then perhaps we could note that the desires and aims of men and women are subjected to mortality and judgment, whatever those desires and aims might be at, if you will, an archetypal level. 

But if not all Christians presuppose the legitimacy of what’s colloquially known as The Cultural Mandate then that’s part of the problem.  IF the expectation of manliness is defined ultimately toward a teleological view of maleness that envisions men as having an obligation and opportunity to subdue the world and exercise dominion then any man who sees his role as NOT exercising that dominion or defining that dominion differently could be misunderstood.  I.e. there's an eschatological question lurking within a dominion mandate as to what the dominion mandate is for if the world in this present form is passing away.   If the world in its present form is passing away, if we are enjoined to not love the world nor the things of the world, then there's a tension within an application of the a cultural mandate or dominion mandate as an outworking of the commands from Genesis in the creation account. 

The idea that men have the burden of establishing dominion and subduing the world while women have more a burden of fruitfulness and multiplication sounds great to people already disposed to take the dominion mandate as applicable regardless of any potential eschatological break that may have been introduced by Christ's death on the cross. 

 ...

There's a difference between writing thousands or tens of thousands of words about what would be beneficial to young men in their character formation and giving them some kind of job.  At that level of practical distinction a Christian conservative or traditional response at the level of theory to defend a traditional role of some kind can simply be "be warm and well fed" if there's no concrete assistance.  That there are young men who are willing to eat but not work is granted. :) Those guys have always been around, too.

POSTLUDE 2-12-2018

Not that Roberts is in any way unique expressing concern about how contemporary culture produces childish men but when the benchmark for functional adulthood can so regularly be conceived as being in terms of married life and childrearing for men and women alike it's a script that gets ... predictable.  There have been times over the last twenty years I've listened to and read socially conservative Anglo-American Christian scholarship and social analysis and have wondered whether or not at some level they would, if it weren't going to violate the first table of the Decalogue, throw in Hera as a goddess to be venerated.  That the goalposts of functional adulthood so steadily get cast in terms of married life and childrearing isn't so much a bad thing as a predictable script.

That social conservatives tend to focus verbiage and attention on those men who are presumed to be in a position where they "could" marry but don't rather than discuss practical instruction for those who for various reasons may feel they can't marry is something I've noticed over the last ... twenty years.  Within the scene of the former Mars Hill there wasn't a shortage of men who wanted to be married but the perennial vexation of many of those men was that they couldn't find a woman willing to marry them.  There could be a point at which what socially conservative Christians might want to do instead of keep talking about all the reasons that men who "could" marry aren't marrying and thus putting off adulthood, they could take a page from Richard Baxter's writings and lay out all the reasons that a man should not consider getting married. Despite the fact that the apostle Paul did not lay down a law amidst writing what he thought was beneficial regarding marriage and non-marriage, socially conservative Anglo-American Christians have seemed pretty determined to argue that, basically, Paul was wrong or that Paul was really arguing that unless you are called by God to smuggle Bibles to non-white people in a foreign country where Christianity is not the state religion you should just become a real grown-up already and get married.  In earlier epochs of Christian life it seemed there was some understanding that if a man was not cut out for marriage there was a fairly large body of literature advising those men on how to live in a Christian way ... although that body of literature might not necessarily be largely or distinctly Protestant, perhaps. 

at Jewish Currents David Klion on the subject of "unlearning Woody Allen", considering the ways that Allens' work was taken to provide a template for adulthood for his fans and how that should be reappraised

The more time goes by the more it seems that film critics who venerate cinema from the 1970s and those directors who found a place in the cinematic canon from that time, rather broadly speaking, are coming to a point of reckoning in the post-Weinstein period.  Specifically Polanski and Woody Allen are coming up, though Bergman comes up, too.  We're living through an era I which the kinds of filmmakers who from the lens of 1970s arthouse film interest seemed impeccable seem, as decades pass along, to have been ... nasty sorts of people.  I've blogged a little bit about this before.
 
What might be more puzzling is that if Woody Allen were to now be subject to disapproval why it would have taken decades for this moment to have arrived.  There are things to be said about the cult of the male genius whose work is so compelling it allows critics to overlook what would conventionally be regarded as mortifying character flaws.  This cult of the genius would not necessarily be strictly applicable only to men but its most vocal adherants can often seem to be men.  It doesn't have to be strictly so, since somebody once opined that every word Lillian Hellman wrote was a lie ... but perhaps that's just a distracting side recollection.
 
There was a piece I saw recently about Woody Allen, and about how in a sense fans of Allen's work have to reckon with what they felt Allen's filmography meant for them.  One of the more memorable thinkpieces on that came from Claire Dederer, whose essay was, I think, wildly misunderstood and thus misrepresented in a piece published over at Mockingbird not too long ago.  That piece of misunderstanding is over here.
 
I don't think it will do to claim that separating the art from the artist is a particularly masculine or patriarchal flaw.  It might be more plausible to say that in the last century we have come to define heroism in a somewhat strange way in which in Anglo-American imperial/cultural contexts we assume that heroes are virtuous men or women whose virtue gets rewarded rather than proposing that heroes can and often have been monstrous people whose monstrous actions were done in the service of providing a social stability through which other people could benefit.  Now, sure, some films did bring up the idea that people who can be identified as heroes are monsters at some level and even know it but ... those films don't tend to win the approval of the sorts of people who write at The New Republic, for instance. 
 
But, to get to Dederer's comment about Allen's films, she loved them because she felt that Allen was in some sense her.  Allen's films emerged a time and place in which the Woody Allen protagonist had flaws but was not as bad as the conventionally masculine bro athlete sort against whom Allen might at some point be in conflict with in one of his films.  The nerd would get the gorgeous girl that the jock felt should have been rightfully his and ... yes ... I did just conflate Woody Allen's films with Revenge of the Nerds there.  The older I get the less convinced I am that the boundaries separating the highbrow from the middlebrow and lowbrow art forms are as impermeable as film critics and academics keep wanting them to be. 
 
So ... with that preliminary in mind, here's another piece about a fan of Allen's films wrestling with the realization that in important ways Allen's films celebrate men who don't grow up and don't have to deal with the consequences of their own self-absorbed and unethical lives.
 
 
 
...
For a certain kind of person – highly educated, often living in New York, often Jewish – with certain values and tastes, Allen’s most clearly autobiographical films from the 1970s and 1980s define a lifestyle, a sensibility, and, most vexing, a script for adult relationships to follow. They are in the DNA of every significant romantic comedy of the past 40 years, and in the real lives both reflected and informed by those comedies. And for many non-observant American Jews, they form (along with Seinfeld reruns and Philip Roth novels, both topics for other essays) a kind of secular Talmud.

For some American men, the cultural role models are obvious – the athlete, the soldier, the action hero, the real estate tycoon. For others, maybe especially those of us who attended liberal arts colleges and live in trendy neighborhoods and eke out precarious creative class existences, a different set of archetypes is available. The men of critically acclaimed romantic comedies and sitcoms are our most popular fictional guides for how to behave around women. All of them owe a debt to Allen. [emphasis added]

Maybe you are this second kind of man, or you’re friends with him, or you’ve dated him. As an archetype, he is funny and self-deprecating, intelligent and witty, neurotic and vulnerable, gentle and non-threatening, awkward and sexually frank. If he’s often rude or irritating or pretentious, he’s also genuinely interested in and engaged with women. Sometimes, the interest is motivated by kindness, empathy, and respect. Other times, it’s a mask for something more sinister.

Renouncing Woody Allen is painful for many of us not just because we enjoy his work, but because it feels like renouncing a part of ourselves. It also feels cheap, because there’s no point in renouncing him if we can’t also renounce the part of us that finds his characters relatable. We need to take a closer look at the films that taught us to be this way, and to consider what else they taught us.
 
…
I’ve known the worst stories about Allen for years and rationalized my enjoyment of his movies, partly by insisting on separating art from artist (as if, with art this self-referential, the two can possibly be separated) and partly through my conviction that the relationship in Annie Hall is healthy, realistically depicted, and fair to both parties. [emphasis added] Annie is no Tracy; she is a fully realized character, with a wide range of emotions and moods, a fleshed out back story, and complex, believable feelings about her relationship with Alvy. Moreover, Annie grows and changes. She begins the film as a naive, adoring Midwesterner in New York, goes through relatable good and bad experiences with Alvy, and emerges by the film’s end as someone with the confidence and worldliness to realize she’s moved beyond him, to reject his attempt to get back together, and, in a bittersweet coda that I’ve always regarded as the model of a mature reconciliation, to befriend him, just as Keaton befriended Allen.
“I realized what a terrific person she was and how much fun it was just knowing her,” Alvy says in the closing narration, which is about the best anyone can hope for after meeting an ex for lunch.
What have I learned from watching this movie again and again since middle school? Most of all, I’ve learned what a relationship is supposed to look like: two consenting adults meet cute, awkwardly banter, fall for each other, share happy memories together, fight over stupid things and make up, go on trips, meet each other’s friends and families… and then, more often than not, they outgrow each other, agree to part ways, backpedal for a time, and eventually settle into a stable friendship. I know, short of a happy marriage, this is as good as most relationships get.
I added the emphasis in red to highlight the script inherent in the film as described by Klion.  It's fascinating to see that thumbnail sketch of what the perceived paradigm is in Annie Hall.  To cast the hero's journey, the heroine's journey in a Campbellian monomyth, Woody Allen's films were perceived as the smart, literate, sexy rumination on the rites of passage that define what it means to become an educated adult with grown up understandings about sex and death and men and women.  Short of a happy marriage, this is as good as most relationships get and for a set of fans of Allen's films (of whom I am, by now, probably obviously not one) his films define what could be regarded as a realistic depiction of being an American and an educated grown up as distinct from those people who watch Star Wars movies and don't truly grow up.  While the likes of Spielberg and Lucas have been lambasted for creating the blockbuster adventure films that trap the mind in adolescence and juvenilia Woody Allen's films were urbane and presented ... wait a minute ...
and thus David Klion reaches a moment in which he asks ... is that really how we should now understand Woody Allen's work.  Annie Hall, as Klion noted, beat out Star Wars for best picture in the pertinent Academy Awards, so the juxtaposition is particularly pointed forty years on--if people who can't abide Star Wars would turn to Woody Allen's films as a more adult and sophisticated understanding of the human condition then it might seem all the more salient to ask ...
 
But is that really what Annie Hall depicts? How could a predator who has pursued inappropriately young women and girls throughout his career with no apparent remorse have made a film that so many seemingly healthy, functioning adults find relatable, even hopeful? Only two years separate Annie Hall and Manhattan. Woody and Alvy and Isaac are all the same guy, the guy who could date Diane Keaton and Stacey Nelkin in succession.

And how old is Annie, anyway? If we assume she is meant to be Keaton, then we can pin the age gap between Annie and Alvy at 11 years, which seems about right. That makes Annie Hall, filmed in 1976, a movie about a man who is roughly 41 dating a woman who is roughly 30 – hardly an indecent gap, but a perhaps meaningful one.

It’s not just that Alvy is a decade older than Annie; he’s also better read, more established in his career, and a “real Jew” who’s spent his life in the city where a pretty shikse from Wisconsin is still getting her bearings, and he wields this authority over her. He condescends to her, pretending to make intelligent conversation while imagining what she looks like naked, pushing her to take college courses and then getting mad when she flirts with her professor, scolding her (rightly, but still) for reading the National Review, paying for her to go to therapy and then getting upset that it doesn’t improve their sex life. He blames a bad mood on her period. He encourages her to read books with the word “death” in the title. He discourages her from enjoying Los Angeles even though it makes her happier than New York. “And you know something?” Annie says after Alvy nails a stand-up performance for undergrads, “I think that I’m starting to get more of your references, too.” It’s an easy line to miss but it speaks volumes about how he treats her, as a vessel to be filled with his insights.

It's possible to be even more brutally distill this observation into a statement that Woody Allen's Alvy values Annie, at every level, because of what he can fill her with, himself and everything about himself and his interests, ideas, and class associations.

Klion continues

What I see more clearly as an adult than I saw as a teenager is that Annie grows but Alvy doesn’t. Annie is a stronger and more independent person at the end of the film than she was at the beginning and Alvy is still Alvy, the guy who could just as easily be Isaac pining after Tracy. We’re meant to feel good about this outcome, at least as good as it’s possible to feel about the existential joke that, according to Allen, is life

But what was the point of their relationship? We never get Annie’s verdict, just Alvy’s smug assurance that he turned Annie into a woman who would voluntarily introduce another man to The Sorrow and the Pity. But as far as Alvy is concerned, relationships are “totally irrational and crazy and absurd… but I guess we keep going through it because most of us need the eggs.” We know he’ll be okay, because he’s satisfied with how things worked out for Annie and he can always find new eggs.

Forty years on it's curious to consider that Annie Hall and Star Wars were both up for best picture at the Academy Awards.  As popular as it has been to claim that the latter film sparked a franchise that has at some level kept people from really growing up it would seem that the fans of the Star Wars franchise have, at least, grown up enough to bankroll, produce and direct new installments in the franchise, however polarizing those installments may be.  Allen's legacy, as described by Klion, has been an influence on the romantic comedic genre of film. 

Now it may just be that neither Woody Allen nor George Lucas should be trusted to tell us what functional adulthood is supposed to mean ... but then I've never gotten the sense that fans of the Star Wars franchise have really operated under the understanding that those films offer a template for navigating adult life the way Woody Allen's fans have advocated that his films somehow actually have done.

We could probably benefit from a reappraisal of the cultural influence of both these guys, but in light of what Allen has been accused of, the reassessment can seem more badly overdue in his case because George Lucas' detractors have had plenty of decades to explain how he ruined cinema. Klion gets at part of what makes a reappraisal of Allen challenging.
…
 
Even as many of these women are now abandoning Allen, Keaton stands by him. On January 29th, she tweeted “Woody Allen is my friend and I continue to believe him.” She also linked to a 1992 interview Allen gave on 60 Minutes in which he denied molesting Dylan Farrow (watch and draw your own conclusions).

I’m reminded of Leon Wieseltier, the long-time literary editor of the New Republic, whose new project was torpedoed last October following revelations from multiple former TNR staffers, including the aforementioned Ruth Franklin, that he sexually harassed women in the office over decades. Another former colleague, Michelle Cottle, wrote about how this was complicated by Wieseltier’s role as one of the few men at TNR to show any interest in women at all:

At the same time, many women longed to be in what one called “the sunlight” of Good Leon. Complicating matters, the owner of the magazine during my tenure, Martin Peretz, had a reputation as a scorching sexist (a tale for another day), and the magazine was seen as something of a boys’ club. Leon always presented himself as a champion of women, which in many cases he was
 
This is what makes men like Wieseltier or Allen so insidious. Much of the male-dominated culture dismisses women entirely, but in doing so it leaves an opening for those men whose interests in women range from condescending to predatory to present themselves as sensitive. There is a sense of betrayal when men like this are exposed, and they make the task of any man attempting to be genuinely sensitive that much harder. [emphasis added] 
Events are unfolding quickly, but here are some predictions. Allen’s career is over; he will not make another significant film, and he will die a disgraced figure. Most younger audiences will never find his work relatable. Defending him will increasingly be seen as a reactionary stance. And even those of us who love his best films will find it harder and harder to watch them without wincing. But we shouldn’t be wincing at Allen. We should be wincing at ourselves, at all we’ve learned and all we’re only beginning to unlearn.
According to Allen, the culture and the women that men consume are the reasons to stay alive in a bleak and meaningless world. But there are ways to engage with both culture and with women – with people – without consuming them, and there is richer meaning to be found in this world, if we can learn to see beyond our neuroses. It’s a cop-out to say that the heart wants what it wants. We have to ask ourselves who taught the heart what it wants, and whether it’s capable of wanting something more. [emphasis added]
 
There's no shortage of literature and thought about the human condition that has mulled over how so often what the heart wants is something that, if said or done, is bad.  If Klion's assessment of Allen is accurate then Woody Allen's films declare that culture and women are what men can consume as reasons to stay alive in a bleak and meaningless cosmos.  Forty years after Annie Hall and Star Wars it would seem that if that's the best summation we can be given about Woody Allen's legacy then there's no point in pretending that Woody Allen's cinematic legacy is less juvenile and detached from plausible human relationships that George Lucas' vision in Star Wars. 

Even if all the allegations made against Allen somehow turn out to be unfounded, I don't think that Allen's films need to be taken as a kind of meta-cultural script for American intellectual adulthood any more than The Empire Strikes Back would be. But then, pertinent to Klion's piece, the salient point here is not so much Allen's films themselves as what his admirers have made of that filmography.  The core question in Klion's piece is, should they have taken Allen's films as a template for intellectual American adulthood?  As a non-fan of Allen's work I would have thought the answer "no" would have been obvious over the last forty years but experience and mileage vary. 


 

The Atlantic, "Why Public Media Has a Harassment Problem", the paradox of NPR having a culture in which women can thrive professionally but harassment still occured

One of the things I have read and heard in the wake of the dissolution of Mars Hill Church as a corporate entity has been accounts of women being silenced.  Since I declined to renew my membership as far back as 2007 and stopped attending regularly by 2008 because I dreaded the idea of Mark recycling Song of Songs yet one more time as a quarter-year long sermon series I bailed during the years in which Mars Hill shifted from the Midrash online php forums to what was known as The City. 
 
I disliked The City intensely, hated it, even.  I had an uncreative nickname for it, but the thing was I didn't misunderstand what its inventor was hoping to accomplish with it.  The idea that social media networking tools could be used to reinforce existing offline relationships, rather than swim in a sea of "virtual" relationships where people would go back and forth on a php forum without interacting in person, sounds great to people who imagine that virtual relationship by way of written correspondence somehow doesn't match up to the "real" of you and me talking over coffee at some Starbucks.
 
But it's also an ill-conceived critique of the nature of online correspondence.  The gap between the persona and the person has always existed.  It's testified to across the Scriptures so Christians, of all people, should never labor under the delusion that you and me talking in a coffee shop is any more the "real" you or me as distinct from what is in our minds respectively amidst conversation--Jesus was able to condemn hypocrites millennia before the age of Twitter, and likewise we should not imagine that online interaction is somehow less "real" because we don't see face to face.  Too many Christians of a conservative stripe have labored under the patent delusion that the internet has somehow made people more shallow and less socially engaged.  There's an element of truth to that but perhaps only in the sense that as the era of virtual reality permeates the "normal" of how we communicate the possibility of a person vanishing into any number of personae by dint of this new normal becomes more likely. 
 
There's always going to be a gap between the persona presented for public consideration and the conduct of people whose actions may at times betray the high ideals of the personae they present to the world.
 
This doesn't just happen in the case of socially conservative religious types who are family men for public consideration but may seek out prostitutes on the side when they believe no one is looking.  It can also happen amongst those who would otherwise be considered enlightened, socially liberal, and in favor of women getting more opportunities.  Which is to say mercenarily predatory conduct can find any number of useful covers for its operational mode. 
 
it is with that in mind we can turn to the conundrum of sexual harassment in the public media sphere.
 

 

…

 

While many people I spoke with say public media’s harassment problem isn’t worse than other segments of media, it’s clear that the systems in place to cope with issues of sexual harassment have been woefully inadequate. Julie Drizin, the executive director of Current, a nonprofit publication focused on public media, says that the lack of robust human-resources departments that would include training and specific reporting mechanisms in instances of harassment may be a part of the problem, at least at some stations. “A lot of corporations invest a lot more in HR. I think that’s one of the things that separates public media from other kinds of media,” she says.


Still, even with its well-known deficiencies, public media doesn’t quite fit the stereotypes of a male-dominated, hostile work environment. Vivian Schiller, the former CEO of National Public Radio, told me that public broadcasting, particularly NPR, has long been considered a space where women can thrive. “When I was there, most of the leadership was women,” Schiller said. In fact, four women, Cokie Roberts, Nina Totenberg, Linda Wertheimer, and Susan Stamberg, are often referred to as the “founding mothers” of NPR. And the organization’s most recent data on newsroom makeup shows that more than half of newsroom employees are women. The fact that a culture of harassment and bullying were allowed to fester for years, all while women sat in positions of power and control, makes the issue all the more confusing. But if you consider the discord on other issues, such as between public media’s stated commitment to diversity and its predominantly white audiences and newsrooms, it’s clear that the overarching vision of public broadcasting often doesn’t manifest in real and critical ways. [emphasis added]
 
It's not really surprising if we shift the focus briefly from the nature of management to attention to the donor base.  The patronage by way of donor base or audience can end up defining an institution and its resources away from its formally stated ideals. 
 
One of the observations Hanna Rosin made over at Slate years ago was that there is a group of affluent white women who can afford to live in New York who are vocationally attuned to perceiving all the ways in which the patriarchy has kept them down.  This was not so much a case of the patriarchy really keeping these affluent white ladies down, Rosin noted, because if white ladies can afford to hire nannies or housecleaners (often women of color at that) that whatever the sins of the patriarchy toward women more generally the women who were writing about the patriarchy within New York were probably not the ones suffering at the hands of this patriarchy.
 
That NPR could be a place where harassment happened isn't even the only moment we can be observing.  Just a couple of weeks ago the news about Burns Strider and Hillary Clinton's campaign became grist for headlines.
 
 
 
And, for that matter, the way the Democratic mainstream handled Paula Jones back when Bill Clinton was in office suggests that as popular as it would be to imagine that bad behavior is somehow the domain of socially conservative types this seems too implausible to take seriously in a post-Weinstein moment.  Weinstein was not known for advocating for Bush I or Bush II or Trump. 
 
I have been finding myself unable to take seriously either complementarians or egalitarians in Anglo-American discussions and debates about ecclesial authority.  One reason is because I am just not sure that at the end of the day these two teams are fighting about the conduct of Christians within churches so much as waging what is ultimately a political battle over who should have access to or retain the reins to accessing power within the confines of 501(c)3 institutions within the United States, in a United States context.  It is not a matter of whether people are silenced in a corporate culture that might also happen to be a church culture.  That kind of thing happens all the time.  My concern is that if we look to situations such as NPR and its culture of harassment or at how Clinton and her campaign handled a harassment case brought to light within its ranks in 2008 it just does not seem that if we get institutions and their cultures on the right page in terms of formally stated beliefs and practices that this will get rid of the sorts of people who prey upon people.  We should do what we can to reduce the likelihood that these people can get opportunities to prey upon others, certainly ... but the post-Weisntein moment would seem to have banished the idea that merely professing to be this or that type of social progressive confers any moral improvement upon a person simply because they profess this ideology as distinct from that one.  Complementarians can swear up and down they want to protect and honor women so long as women do whatever is necessary to conform to stuffy gender stereotypes held dear by some kind of strata of proper English and American males.  There is no assurance that merely holding the correct ideological stance about the use of power in terms of who should be given it  in a cultural context means anything in terms of how you treat people on a day to day or week to week basis.
 
In that sense a Rachel Held Evans will never be an "opposite" of a Mark Driscoll if she's okay at some level with how Tony Jones dealt with his ex-wife.  The idea that it's just conservatives who put their heroes on pedestals and will brook no public criticism would seem easy to set aside for those who are trying to pay attention more to how systemic certain types of harm are regardless of ideology than to the vindication of this or that ideology as somehow precluding the possibility that men and women will be mistreated. 
 
If AMerican partisans left and right and center keep behaving as they have over the last twenty years then what we're most likely to see is not so much concrete steps toward eliminating harassment and predation in professional contexts as we are to see a token of such efforts as the garb for more conventional attempts to argue that if "we" would all just embrace the right set of ideological concepts and enforce them (whether of an egalitarian or complementarian or some other stance) things would change.  I have my doubts at this point.  I regard complementarianism and egalitarianism as both practically terrible pissing contest positions within evangelicalism at this point.  There's no point in settling the debate about who should have access to institutional branded power if we haven't stepped back and reconsidered what the nature of that power has become in the context of American churches.  My worry is that Americans who are interested in debating who has access to formal power may be too convinced that if only their respective ideologies regarding ecclesial governance were "really" employed that all this sin would go away.  It won't go away completely, even if wwe can pray and act to the end of making it subside as much as possible, but at this opint with all the scandals emerging about who did what with whom and to whom the craziest idea to entertain at this point, to me, is seriously suggesting that any of this could be or has been mitigated in some way by a proper ideology, whether of a putatively right or left kind. 

Julie Beck's piece on the whole genre of emo and its dangerous myths about romance reminded me why I hated emo twenty years ago

When some people I knew in college told me about the emergence of an idiom called "emo" I was ... politely skeptical.  It seemed like what you'd get if James Taylor suddenly arrived at an epiphany in the middle of a standard issue ballad that there was this invention called the distortion pedal, kicked it on ceremoniously, and with a flourish decided to complete the rest of his otherwise croony ballad with some plaintive screaming.

Now love songs in general have a long and dubious tradition of a capacity for extolling the power of erotic attachment in alternately the most narcissistic and toxically codependent ways possible.  Emo, as best I could tell, was merely distilling all the stuff I'd already grown weary of.  Now it's not that I'm against love songs, and I'm not even against love songs strewn so readily with cliché as to beg all attention be turned to the music and not the embarrassingly trite lyrics.  I mean, if I were altogether against that I could own any albums by Stevie Wonder ... and even someone like Nabakov could still write love letters permeated with the most ancient clichés in the expressions of love.  

So for me it didn't seem like there were any revelations about how skeevy emo as a whole genre seemed to be in Julie Beck's piece on pop culture selling dangerous myths about romance that I hadn't spotted within the first two minutes of hearing my first emo song (which soon became the last one I voluntarily listened to in order to humor the advocacy of a person telling me about the genre back when I was incollege).

But every generation, to be fair, must discover things in their own time and place and in their own way.  Thus ...

https://www.theatlantic.com/entertainment/archive/2018/01/when-pop-culture-sells-dangerous-myths-about-romance/549749/

Edward Cullen. Chuck Bass. Lloyd Dobler. Spike from Buffy the Vampire Slayer. That guy from Love Actually with the sign. The lead singers of emo bands with their brooding lyrics. Many of the romantic heroes that made me swoon in my youth followed a pattern and, like a Magic Eye picture, only with a little distance did the shape of it pop out to me. All of these characters in some way crossed, or at least blurred, the lines of consent, aggressively pursuing women with little or no regard for their desires. But these characters’ actions, and those of countless other leading men across the pop-culture landscape, were more likely to be portrayed as charming than scary.

Romance often involves a bit of pursuit—someone has to make a move, after all. And there’s certainly a spectrum of pursuit: Sometimes supposedly romantic gestures in pop culture veer toward the horrendous or illegal; sometimes they’re just a bit creepy or overzealous. But revisiting some of these fictional love stories can leave one with the understanding that intrusive attention is proof of men’s passion, and something women should welcome. In a number of cases, male characters who were acknowledged to have gone too far—by, for example, actually forcing themselves on women—were quickly forgiven, or their actions compartmentalized and forgotten.

I grew up watching movies in which women found it flattering when their pursuers showed up uninvited to hold a boombox under their window, or broke into their bedrooms to watch them sleep, or confessed their feelings via posterboard while their love interest’s husband sat in the next room. So I found it flattering, too. I sang along with The Killers’ “Change Your Mind” (“If the answer is no, can I change your mind?”) and Fall Out Boy’s “7 Minutes in Heaven” (“I keep telling myself I’m not the desperate type, but you’ve got me looking in through blinds”) without a second thought about what the lyrics implied.

Allegations of sexual harassment have been pouring out of the entertainment industry, among others, in recent months. But while predatory male behavior has been condoned and covered up behind the scenes, it’s also been glorified on screen and on the page and on the radio. As my colleague Lenika Cruz put it to me: “Rape culture, actually, is all around.” The narratives of a culture help to set its norms. Research has already found that romantic comedies can normalize stalking behavior. It’s not difficult, then, to imagine that toxic love stories can also normalize coercion. That they can make people—women, especially—question when and whether their boundaries have really been violated, when they should be flattered and when they should be afraid.

When I read this article a week or so ago I remember thinking of Mike Nelson of Mystery Science Theater 3000 and his big book of cheese, full of essays in which one essay addressed head on the paradox of Meg Ryan as an "it" actress of the 1990s.  Why was it that a Meg Ryan character could do X, Y and Z in a film like Sleepless in Seattle and it could be cute when if Harry Connick Jr. did exactly the same things in some other film it was a horror/thriller story and we were supposed to view the male character as the evil ,aggressive and duplicitous stalker?  Why couldn't we regard both the Harry Connick Jr. character and the Meg Ryan character(s) as outright evil?  Nelson was wondering why the Meg Ryan character got a pass for doing things that, if done in the real world, would be both creepy stalking and just plain criminal.

Beck moves along to discuss one of the problems that some viewers and reviews had with Blade Runner 2049, full spoiler alert

...

For example, in the 1982 sci-fi classic Blade Runner, the protagonist Rick Deckard at one point forces himself on an android named Rachael. But the moment is portrayed as romantic—it’s even soundtracked with a sexy ’80s saxophone. Casey Cipriani at Slate writes of the film’s 2017 sequel, Blade Runner 2049, that “a big part of the new Blade Runner’s plot relies on the belief that Deckard and Rachael fell in love in the first, [but] their ‘love’ is the result of a coercive sex scene.” Similarly, in the first season of Game of Thrones, the relationship between Daenerys Targaryen and Khal Drogo—which is portrayed as a great love, one through which Daenerys eventually comes into her own as a ruler—begins with a wedding night on which the teenage girl cries and tries unsuccessfully to keep Drogo from undressing her. (This is a departure from the book’s depiction of that scene.)

Now the first thing that should be gotten out of the way is that I don't think there's any plausible case to be made that Rick Deckard is anything but a man, i.e. human, not a replicant.  One of the challenges of the plot of 2049 is that we have to believe at some level that Deckard and Rachel became a "legitimate" pair in the sense of mutual admiration and attachment.  But anyone who saw the original film would see how obviously Deckard forced himself on Rachel.  There's room to propose that as scripted or originally written a seduction was involved but, since a friend of mine mentioned that Ridley Scott felt that that version of the scene was somehow not working it was changed.

Now ... that tends to reinforce my belief that Ridley Scott is a complete hack who needs to be kept as far away from story elements and character arcs as possible.  This could also be an opportunity to thematically riff off into how the auteurs and cinematic men of the 1970s are increasingly revealed to have been pretty terrible people.  The relatively lazy bromide of blaming everything wrong in the United States with the legacy of Puritanism isn't really possible to cast so broadly as to have it apply to a Roman Polanski or a Woody Allen, and Ridley Scott can't even be thought of as an American filmmaker, though British chauvinism and treatment of women could, obviously, be its own side topic.  In sum, the cinematic trope of the "one true pairing" is imposed on us by the narrative of Blade Runner 2049 and not everybody has to buy that that's the case based on what happened in Blade Runner itself.  It could be sort of like, I don't know, The Comedian and Silk Spectre I, though.

But the larger element of 2049 that I liked was that we're not only never told whether or not Deckard is or isn't a replicant (the single least interesting question anyone could pose about the character or the films), we are never told that the baby Rachel reportedly gave birth to ever survived.  Tyrell seemed pretty clear in the original film that replicants couldn't effectively live longer than four years without something being seriously wrong with them.  That opened up a possibility that a replicant could live longer than a mere four years but never introduced a probability or a likelihood that a replicant's life would be longer. So why would so many replicants hope that a child of a replicant would be a messianic leader if this would fly in the face of any evidence?  Replicants didn't start living longer, and the fact that Deckard is played by old Ford in the new film would suggest plaily he's not a replicant.  Relpicants were built to be the scut workers and slave labor of the human populace. There was no need to design them to age and weaken the way their human creators would.  What's the incentive to make a replicant that is more advanced only to have that replicant be capable of doing something as stupid as the contemporary equivalent o fstarting a twitter feed to share knock knock jokes? 

But the idea of a replicant savior could be a means of social control.  Think of it this way, if the replicants that become sentient and autonomous enough to want to rebel against the human populace were given memories or common knowledge of a possible savior they could spend all their time waiting for that person to appear when he/she wouldn't, first of all, and, more importantly, moving underground to await the never-will-arrive replicant savior could be a failsafe protocol to ensure that the replicants who would otherwise have to be violently retired would in social/functional terms retire themselves by moving underground. 

Now if Stelline "were" a replicant/human child she can't leave her bubble of safety for health reasons, the last person who would be in a position to really foment a replicant revolution against a Wallace overlord.  One of the characters intones in the most serious manner that dying for a cause you believe in is the most human thing you can do ... but the film never deigns to answer the question of whether it's ever been necessary for a self-sacrificing human to die for a cause that is actually true.

While Beck's article went on to describe some things about rape culture she stopped well short of suggesting that, in sum, pop culture is the most potent mediator of the ethos of rape culture.  It's in the pop songs, it's in the movies, it's in the films and the paradox, or perhaps we should say irony, is that this was all coming from the Hollywood that might default to talking about how bad the legacy of the Puritans was (it was bad in several respects, to put it matter of factly but, again, it'd be hard to pin any blame on the Puritans for Woody Allen, who we'll get to in another post). 

As the post-Weinstein moment has been playing through it looks as though many a man who might have been thought of as being an advocate for women within the media industries can turn out to be a man who has found it useful to use women.  At another level, whatever Nora Ephron was fighting for in the flesh and blood realm of our world, she was okay with scripts in the vein of When Harry Met Sally.  You might be able to suggest that the path from Silkwood to When Harry Met Sally and You've Got Mail was a path into pandering mediocrity as distinct from overt message-movie-scripting.

There was a lot about pop music in the 1990s I really hated.  It was a special era in which grunge emerged, and grunge seemed to be what you'd get if you grabbed punk that had been sitting on the kitchen countertop for a day, ,put it in the microwave, and then pulled it out and served it as a meal.  You could eat it and not die or get food poisoning, but was this what was available?  Not that I'm even necessarily all that much a fan of punk.  I find the idea promulgated by at least some music journalists and writers that punk was somehow the "last" avant garde movement patently ridiculous.
It wasn't even the last avant garde movement of music within the United Kingdom.  The New Complexity movement (not that I'm going out of my way to endorse Brian Ferneyhough) can be thought of as a movement that pervaded the last half century but emerged as an identifiable movement within approximately the same period as punk.  Avant garde trends can take place in more than one generation, after all, and polystylistic eclecticism in the Rochberg vein could be applied to Alfred Schnittke among others.  Post Third Stream fusion experiments at combining jazz and classical idioms has been going on for half a century and it's only been in the 21st century with efforts by composers ranging from Nikola Kapustin to Michelle Gorrell that fusions of Baroque syntactic processes with a jazz vocabulary have been taking shape, and we should throw in Henry Martin in there ,too. 

Punk might be the last avant garde movement to journalists of pop music who don't want to consider the last forty years' emergence of hip hop as the popular mainstream ... but at this point I'm too frustrated by the valorization of punk as the "last' to get more detailed about that in a post that was inspired by thinking about how lame I thought emo was twenty years ago.  If now authors in places like The Atlantic are considering how terrible what was passed off as dreamy and romantic and sexy from the Clinton years now seems, in hindsight, creepy and predatory that could signal what people are concerned about being indicators of rape culture now ... or it could be a reminder that we should not ask where the good old days were that are better than these present days, because it's not from wisdom we ask such questions. 

The annoyingly repetitious narrow range melodies that get sung four times over a jangly guitar vamp; that turns into a chorus with a handful of vocal tics; maybe the distortion pedal gets kicked on and the singer starts wailing the previous melodies an octave higher or screams them in another register.  I mean, yeah, I heard Soundgarden and Nirvana in the 1990s.  Of the two I guess Soundgarden was more musically interesting to me because I hated Nirvana.  Nirvana was just what you'd get if you took the syrupy sentimentality of Boston and inverted it into pseudo-punk anger and gloom.  Condolences can be offered for those who live Cobain while not caring for the man's music. 

Which gets me thinking about how the recent Internet Monk piece about masturbatory worship songs more or less touched the tip of a large iceberg, the iceberg of tectonic shifts in how we produce and consume music and conceive of its structure, form, and developmental processes.  In an era in which tone color can be isolated as defining musical moments what can happen in many a song is that timbre is the one thing that changes which imbues otherwise repetitive musical materials with dramatic significance.  The Nirvana song "Rape Me" was at many levels endlessly repetitive and yet, obviously, signal changes in timbre (clean, distortion, singing, screaming) established that what in another style of music would have involved what conservative/classicists call "argument" by way of developmental process has been shifted into a different plain or level; a level of production and output in which you "say" the same musical or lyrical thing over and over but that the new material gains a sense of the new by way of manipulating the output signal, clean or distorition, singing or screaming ... but music analysis has not necessarily developed a critical taxonomy that, I nthe high cultural sense, knows how to analyze what timbrel shiftis and mutation are supposed to signal at a musical level because, by and large, we "know" what it supposed to"mean" through extramusical associative contexts.  This is something thatis more readily discussed in rock and pop music criticism.  But, I digress, as often is the case in weekend blog posts. 

That's a way of saying that when in the past twenty years pop music veered slowly and steadily into what Leonard B Meyer called statistical forms and hierarchies then it's only what we would expect if Christian pop music followed suit over the last twenty years of what was going on in mainstream pop music as exemplified in the Clinton years in which a bunch of bands would vamp four chords and mumble a small-range melodic line that could explode into screaming the same melody an octave higher with distortion pedals frying the signal up to the threshold of pink noise a minute or two later (which can, make no mistake, sound amazing)--if in the last twenty years songs dropped bridges and simplified verse and chorus distinctions into floating different types of melodic/textual fragments over a steady bass (cantus firmus) then why should we be surprised if CCM takes up a revived and unrecognized return of the passacaglia ground with variations?  It only sounded "new" twenty years ago because someone hit the distortion pedal half way through the song ... even if in the Baroque era changing the stops on the organ produced a comparably similar dramatic effect.  Is there someone who ays "see, here, this is new" it was from ages long ago ... .

Tuesday, February 06, 2018

on the iMonk piece "Masturbatory Worship Music", looking back on a musicologist who anticipated that more and more music would be characterized by statistical climaxes

First off, if you haven't done so, go read this piece at Internet Monk

http://www.internetmonk.com/archive/78983

also cross reference to this piece at Ponder Anew

http://www.patheos.com/blogs/ponderanew/2018/01/07/this-morning-at-highpoint-church-when-a-worship-song-is-blasphemous/

Last year was the fiftieth anniversary of a book written by the musicologist Leonard B Meyer called Music, the Arts and Ideas. The book was reprinted in the early 1990s with a postlude that I'll be quoting from because it's absolutely germane to musical trends in Western music over the last half century.

MUSIC, THE ARTS, AND IDEAS
Leonard B. Meyer
Copyright © 1967. 1994 by The University of Chicago
ISBN 0-226-52143-5


page 346
... Just as stylistic pluralism among compositions is related to an absence of belief in long-range, linear historical processes, so eclecticism--pluralism within compositions--can be related to the weakening of interest and faith in long-range design. Thus uncertainty about the future reaches down to the realms of the aesthetic, calling into question the possibility, perhaps even the desirability, of long-range goals. One corollary of this is that syntactically structured forms and hierarchies characteristic of tonal music will be less common. Instead, forms will tend to be what I have called "statistical," and hierarchies will be continuous and emergent. Statistical structures, which are based on the action of the secondary parameters of music (for example, timbre and tempo, dynamics and register, beat and contour), depend less on privileged learning than do syntactic ones.


If "syntactically structured forms and hierarchies" is too abstract let's focus, instead, on "statistical" forms and hierarchies.  We can see that Meyer has done us the favor of pointing out that statistical structures are based upon the action of secondary parameters of music but there's another, perhaps more colloquial way of describing what this approach can sound like in music. 

What Leonard B. Meyer predicted would become more normative in musical structuring is what we hear in CCEM post-U2, which was with some justifiable bitterness labeled "crescendo rock" by an author at Slate.


http://www.slate.com/articles/arts/music_box/2013/05/the_national_s_trouble_will_find_me_reviewed_too_many_crescendos.single.html

Beneath the surface, the National’s work is full of moves like that. But I still dislike the surface. I dislike the traces of a British accent in Berninger’s rich baritone (he’s from Cincinnati). I dislike the midrange restraint of most of the melodies and the sleepy midtempo pace, making it artificially thrilling when things pick up at all—as when drummer Bryan Devendorf kicks the march beat into double-time, two-thirds through the new album’s first single, “Sea of Love,” though Berninger carries on the same oh-so-stately procession. Most of all, I dislike the way many of the songs milk themselves, doubling down on their repetitions by getting denser and louder in later sections.

This is a common trait of many popular and acclaimed bands that turn me off. I call it Crescendo Rock—I’ve had similar misgivings about U2 and Radiohead, though I’ve aired them less because their fans go way more apoplectic. To me, the bands each sound like a group of guys who feel they’ve got something to say and demonstrate their significance by saying it over and over, getting louder and louder.


That video on display at today's iMonk piece about masturbatory worship songs, it's a remarkably straightforward example of an approach to structuring a musical moment that culminates in statistical climax or crescendo rock apotheosis.  If as the old acidic observation has had it, Christian pop music is just whatever was the big thing three decades ago then, congratulations, Christian pop music and worship music has caught up to U2 circa The Joshua Tree.

It feels really squicky to actually write out that statistical climax is the best way to describe how the span of contemporary Christian music works in the Highpoint Church clip ruminating on the significance of ideas and trends discussed in a piece called "Masturbatory Worship Music". 

Let the record show that Meyer predicted the rise of statistical hierarchies and forms decades ago and here were are in 2018 and Christian pop music has demonstrated the basic prescience of Meyer's observations.  If every church musician in the United States were to read Meyer's books noted here that would probably be a net benefit for American church music, not that I"m saying you "should" as a moral imperative, just as an intellectual one. ;)

And, guitarists, wean yourself off of capos unless you're also playing banjo, violin and other instruments and then never you mind.

But I digress. 

If people want to treat this as a sign of how bad evangelical worship music is that's certainly an option but Thomas Day updated and revised Why Catholics Can't Sing as recently as 2013.  Day may not have found that American Catholic liturgical music hasn't improved so much in the last twenty-five years as to believe there's reason to retract the title of the reissued book.  I read that book twenty odd years ago at the enthusiastic recommendation of a professional church musician who was a Protestant but regarded the polemic of Thomas Day as applicable across the board to all American liturgical music.  So even if megachurches of a Protestant variety might seem to most embody the vices and vicissitudes of church music in America, they aren't the only churches out there in this great big country that demonstrate how ... American the American church at song can sound.

And as Thomas Day put it decades ago, the Irish "sweet song" idiom got introduced post-Vatican II and that wasn't really so far removed from the Jesus people seeds of at least some CCM.

In other words, now is not necessarily the time to pin the blame on one branch of Christendom within the United States for what has been documented as being a fairly observable problem across the board in the Western church.  No ... the Orthodox don't fit into this particular paradigm as best I can tell. 

South Park's episode "Christian Rock Hard" can probably safely be construed as still applying to the Western practice approach in American churches across the board. It's not like Bernard of Clairvaux's approach to Song of Songs, for instance, was a distinctly Protestant approach, was it?  If we want to riff on the weird erotica of contemporary American worship in the way it conceives as the worshipper receiving some wild emotional climax by way of reflecting on God's love for the individual believer
it's not even a uniquely Protestant reflection. Even where there may be a Protestant flavor to it it could be proposed that like everything that isn't Native American about this cultural moment, it came from somewhere in what we know of as Europe. 

Im not contesting that the Protestant megachurch forms of masturbatory worship music are the most egregious and observable case studies ... but I wouldn't cut any slack to Anglicans or Catholics in America, either.  Thomas Day hasn't said that all the copies of his book can be pulped yet.

it miht simply be that the vices are American vices and that the vices of other lands with practicing worshipping Christians will look and sound different.

But, here's a thought to consider, would stripping off all the musical idioms that are characterized by statistical hierarchies and forms known as "crescendo rock" solve the lyrical problem?  No.  If the nature of the lyrical problem is that it tends to present to worshippers a fundamentally narcissistic experience in wich we get to sing to each other and ourselves about God's great love for us first and foremost then fixing the musical problem wouldn't fix anything at the level of the church at prayer or the doctrines implicit and explicit in the music. 

The music may be formulaic and cheap but the masturbatory part of it might not necessarily be in the music. 

But at this point I seriously doubt that what people want is to supplant statistically structured music with syntactically structured music.  That gets us straight back into the problems of the later Baroque era. 

Think of it this way, if the Romantic era and the post-Romantic period of art music could be thought of as an ars perfecta that splintered with the rise of composers like Shoenberg and Stravinsky than those two can be thought of as being like a Florentine Camerata or a Monteverdi whose innovations may or may not stick with us.  I'm floating this idea that it can be all too easy to forget that musical idioms and forms have change dramatically over the last thousand years.  The idea that we're going to settle into a single dominant style as we might hear of it from music historians with specific axes to grind about what church music "ought" to sound like seems remote.  Bach's music was considered by more than just a few to be too esoteric and opaque to be of benefit to ordinary pew sitters.  Hymns or metrical psalms might be considered the lowest common denominator but there's something to be said for tailoring musical means and ends to that which is conducive to congregational participation.

That's a whole other set of topics. 

I'm just suggesting that in a sense it's too easy to forget that if contemporary American worship music seems too masturbatory that might be indicative not merely of a Protestant musical vice but of an American musical vice that spans the Western realm of Christendom in its American form.


But as a composer who has spent the last four years experimenting with ways to synthesize ragtime with sonata form I simply can't believe that the problem is in the nature of the musical vocabulary of the vernacular styles themselves.  The problem isn't that you cannot take popular musical idioms and develop complex macrostructural developmental processes with them, it's that those who are into those styles don't tend to want to, on the one hand, and those who tend to aspire to macrostrutural musical "argument" tend to consider popular and vernacular musical vocabularies fundamentally inimical to the aforementioned large-scale processes and forms.  Both these sorts of partisans are wrong but this isn't the post where I intend to get into something like that.

The problem seems to be that, to put it in the harshest way possible, Americans with an interest in religious music are so dogmatic and fundamentally uncreative across the Catholic and Protestant divide that it wouldn't matter too much if a new Messiaen or a J. S. Bach showed up, there'd be a real question as to how and why that composer's music should show up in a church service.  Turning away from whatever is regarded as masturbatory worship music in the contemporary American idiom doesn't mean that anyone will end up turning toward music that those who might have this to say about contemporary American liturgical music might find acceptable.  I'm not saying there is no problem, I'm just noting that there isn't really a "solution" here. 

Well, wait, Zwingli had one, get rid of music entirely from church services if church music is such a problem.

Who's Zwingli?  ;)

POSTLUDE

Thomas Day's most memorable polemic, for those who never read his book, was that the Irish "sweet song" solo tradition of singing ruined American Catholic liturgical practice in a way that he did not observe was the case in Protestant liturgical singing in either European or American contexts.

Ha

Now that the influence of U2 on contemporary Christian music in the United States would seem relatively beyond all doubt ... the irony may be that it finally has suffused Anglo-American vernacular musical culture in Western Christendom.