The Eternal Present Tense of the Liberal Mind

Out of all the critiques that Neoreaction makes of modernity, one of the most compelling is the sheer lack of historical knowledge (let alone perspective) that most people today have. The modern world is incredibly left-wing over any perspective longer than about 50 years, but how many people even know that? Liberalism is an ideology that exists only in the eternal twilight of the present tense. The past, to the extent that it exists at all, is merely a collection of evil ignorant attitudes and actions occasionally brought up in order to emphasise the righteousness of modern attitudes (that is to say, the righteousness of our liberal interlocutor).

But as I pointed out here in the context of colonialism, the actual level of knowledge about these matters is usually sparse to the point of being nugatory. Figures in the past are never actual people who might have had serious reasons for their views, no matter how far outside today's Overton Window they sit. There is no examination of why they thought the things they did, other than that they were deluded or evil or both. And because the signalling spiral must continue, even yesterday's liberal heroes are currently at risk of being thrown under the bus for being insufficiently progressive. Witness, for instance, the portrayal of LBJ in the movie 'Selma' about Martin Luther King.

For the left, this process of only focusing on the present views and preoccupations has the useful effect (for liberalism) of keeping people from noticing just how recent many of these ideas are. Despite being ardent cultural relativists in theory, the left's devotion to the absolute humorless eradication of the world's -isms is fanatical. These are deadly serious issues, you understand, and it would be inconvenient to note that it's only very recently that anybody even bothered to notice them.

Don't believe me? Consider the following.

Listen to the song 'Bourgeois Blues'. It was written in 1937 by Lead Belly, aka Huddie William Ledbetter, an American Folk Singer. It chronicles some of the treatment that Lead Belly received when on a trip to Washington DC. It's a great song - personally I like the Pete Seeger version, but I've given you the original. Pay attention to the story, and how he chooses to describe it.

Listen here people, listen to me 
Don't try to buy no home down in Washington DC 
Cause it's a Bourgeois Town, 
Ooh, it's a Bourgeois Town. 
I got the Bourgeois Blues, 
I'm gonna spread the news all around.

Me and my sweet wife Miss Martha,
We run all over that town 
Everywhere we go the people would turn us down 
Lord, in a bourgeois town 
Ooh, it's a bourgeois town. 
I got the bourgeois blues, 
I'm gonna spread the news all around. 

Some white folks in Washington, 
They know just how 
Call a colored man a nigger just to see him bow. 
Lord, in a bourgeois town. 
It's a bourgeois town. 
I got the bourgeois blues, 
I'm gonna spread the news all around. 

Me and my sweet wife Miss Martha, 
We were standing upstairs 
I heard a white man say we don't want no Negroes up there, 
He was a bourgeois man 
Living in a bourgeois town. 
I got the bourgeois blues, 
I'm gonna spread the news all around.

The home of the brave, 
The land of the free, 
I don't want to be mistreated by no bourgeoisie, 
In a bourgeois town, 
Lord, it's a bourgeois town. 
I got the bourgeois blues, 
I'm gonna spread the news all around.

Okay, got it?

So what strikes you about the song? Not about the story - that's obvious. What seems out of place in how Lead Belly describes the mistreatment he receives?

I'll give you a hint - what is the one word that you would use to describe the actions of the people here?

It's obvious - the word is 'racist'.

Now go back and look at the lyrics again - the word 'racism' is (along with its derivations) conspicuously absent. It's possible that this is a rhetorical or lyrical choice, and maybe he just decided not to use it. But the rest of the song doesn't feel that way. Consider again - you have a white man who calls at a married black couple 'we don't want no Negroes up there' (in other versions of the song, the man uses the word 'nigger' instead, suggesting extra malice in the nature of the demand). Now, faced with such a man, think of the list of words you might use to describe him, starting with racist, then bigoted, then ignorant, then whatever synonyms you want. Would you have thought of him as a 'bourgeois man'? Would this have even made top 20? It's inconceivable.

So what the hell is going on here?

The first point, which is the more obvious one, is that as late as 1937, the word 'racist' simply did not exist in the popular lexicon. This mirrors the history of the word racism - some attribute the first use to Leon Trotsky in 1930, and the first use in English to Lawrence Dennis in 1936. What seems hard to refute is that in 1937, it had not filtered down to Lead Belly when he was describing a situation where it pretty clearly applied.

And as George Orwell noticed, language tends to shape thoughts. It's not only that the word didn't exist. The concept simply didn't exist as an organising principle with which to critique various actions and views. Lead Belly knows what he doesn't like about the behaviour, but doesn't have a clear way of describing it. The most deathly important social injustice in the modern world, the worst sin and stain on character possible in today's society, the most important concept ever, dates all the way back to... some time after 1937. It's not only that people tolerated racism. It's that people didn't even have a clear concept of racism as a thing to be condemned.

There are many fascinating aspects to this worth pondering. One might wonder how it was that millennia of humans managed to live and die without even noticing the most important crime one can ever commit. Seems odd, no? If modernity is right, and all of history is wrong, racism is the worst injustice one can commit, and is evident in everything from requiring voter ID to banks failing to issue home mortgages at the same rate for all neighbourhoods. So how come nobody even noticed until the middle of the 20th Century? Don't hold your breath waiting for an answer from today's progressives.

But the song actually does give us a partial answer. It's not just that Lead Belly doesn't describe the behavior as racist, it's that he describes it as 'bourgeois'. Google tells me this means 'of or characteristic of the middle class, typically with reference to its perceived materialistic values or conventional attitudes'.

What's going on, in other words, is that in 1937 the left was preoccupied with class, not race. 'Bourgeois' was an all-purpose slur for behaviour that the left disapproved of. Hence, it gets slung around in the same way when other words might be more appropriate.

These days, class is on wane as an organising principle of critique. The Cultural Marxists have displaced the Economic Marxists as the leaders of the left, and in the process 'materialism' and 'capitalism' have been shunted to the back of the '-ism' bus, elbowed out by racism, sexism, homophobia, Islamophobia etc etc.

In 1937, the worst possible sin you could commit was to be a capitalist who was exploiting the poor. But times change. While being a capitalist exploiting the poor is still not ideal, in 2015 it pales into utter insignificance next to the currently unthinkable prospect of a hotel proprietor casually telling someone 'we don't want no Negros up there'.

Of course, if you think about this too long, you might begin to wonder whether in 2087, racism will have lost its place as the Worst Possible Thing Ever, and something else that today we don't even have a word for will have taken its place. This may also cause you to second guess whether the current emphasis is in fact misplaced.

Better to not think too much about it, you might end up too far down the rabbit hole, reading Moldbug and scorning modernity.

Song lyrics that annoy me

From Robin Thicke’s ‘Blurred Lines’

‘I feel so lucky
You wanna hug me,
What rhymes with “hug me”?’

Really? You’re rhyming ‘hug me’ with ‘hug me’, and referencing it as if it’s a pun? Rhyming a word with itself is the absolute cheapest, most pathetic way of satisfying the technical requirements of rhyme.

I understand that you’re trying to create an hilarious joke by suggesting the word ‘f*** me’ as the implication of what follows ‘hug me’, but a) this doesn't even rhyme, and b) loads of other things do.

To answer the question, you can write obvious lyrics that make sense in context using  ‘bug me’, ‘mug me’, ‘drug me’, or ‘dug me’, slightly offbeat lyrics using  ‘plug me’, ‘slug me’, and ‘tug me’, and if you’re willing to go more absurdist then ‘chug me’, ‘lug me’, ‘shrug me’, and ‘pug me’, work in a pinch as well.

The main alternative to a failed intended meaning of implying ‘f*** me’ is that he knows that lots of things rhyme with ‘hug me’, and he’s instead openly giving you, the listener, the middle finger by shamelessly not being bothered to finish the rhyme, with the knowledge that you’ll still listen to it anyway.

Either way, what a clown.

The sadness of things coming to an end

A breakup song that I would wager was not inspired by an actual breakup:

‘Go on now, go! Walk out the door!
Just turn around now, you’re not welcome anymore.
Weren’t you the one who tried to break me with desire,
Did you think I’d crumble? Did you think I’d lay down and die?’

A breakup song that would wager was:

‘The single saddest thing I ever heard you say,
Was on the day I told you I had to go away,
You said ‘Darling baby please, if you really mean to leave,
Can’t I just hold you a little while longer?’

It's not even my breakup, and it twists my heart to hear it.

Among the best things to recommend about a lifelong marriage is that one never needs to go through another breakup, at least until death do you part.

That must be an immensely relieving feeling.

Lazy Song Lyric Tropes - 'Critics'

F*** critics, you can kiss my whole @**hole

 -Jay-Z, '99 Problems'

One of the most patently absurd lyrical devices that musicians seem addicted to is their constant war against unspecified 'critics'.

If you listen to song lyrics, the 'critics' hate everybody. They spend all day just slagging off musicians in print, and apparently there is sufficient demand for this service to provide them with a lucrative living. At least I assume there must be, given how many times these musical curmudgeons feature in song-writing.

Reader, have you or anyone else you know of ever read anything by pop music critics? Why would you? These days, if I want to find out whether a musician is any good or not, it takes me 5 seconds on youtube to pull up their most popular song and decide if it sucks. If I want suggestions of music that I haven't heard of, I open up Pandora  and plug in a musician, and out comes similarly themed music that matches my tastes surprisingly well.

The only critic I've ever read is Jay Nordlinger, and that's for his non-music writing. More to the point, Nordlinger is drawn (typically, in my limited exposure) from the one category of music that does still have significant numbers of critics, namely classical music. If I go through the list here, maybe a third of them seem to relate primarily to classical music. Yet you don't hear Gustavo Dudamel ranting mid-concert because the New York Times panned his latest performance.

Musicians are famous for being lazy and uncreative on average in their choice of subject matter. My guess as to why 'critics' feature so prominently, especially in rap songs, is that
a) these clowns have nothing really to say, and this fills at least 10 seconds of ranting,
and
b) the main point of most rap music apparently is to bignote oneself, and setting up a strawman army of imaginary 'haters' is a great way to make it seem like you're generating a buzz and some controversy.

And they are imaginary. The surest sign this is all a fantasy by the song-writer is that the critics are never actually named. This is like the musical equivalent of the 13 year old boy bragging to his friends about that totally hot French chick that he hooked up with while on holiday with his parents. Serious You Guys, she totally dug me! What's that? No, I forgot to get a photo. Why do you ask? Whaddaya mean, nobody's ever personally witnessed me get any attention from a real-life female ever?

If you call out a critic by name, I'll make an exception. So when KRS-One decides to rant about C. Dolores Tucker, at least you know there's an actual person there. (Whether it's interesting or not is another question). Otherwise, assume it's all nonsense.

Lame.

To slightly modify Juju from Jurassic 5:

Homo I'ma hurt ya feelings
Name brand talkers...pretty ass earrings
Where are all your critics about which you obsess?
The only one I know of shares your IP address.

F*** critics? No, f*** you Jay-Z, think up something remotely original to talk about.

The Marketing Genius of Bruno Mars

Like the tobacco industry, you need not want to purchase a product to respect a well-constructed business strategy.

Consider the example of singer Bruno Mars. If you need to understand him in a single picture, try this one:



(via)

He sings cliched romance songs aimed at a young female audience, selling the fantasy of himself as some kind of mix-race romantic icon. Look at him, cheesily holding the hand of some adoring fan and singing directly to her while someone, presumably her friend, takes a photo.

Again, I'm not the target demographic here, but his stuff is well designed.

In particular, here's his famous song 'Just the Way You Are':



First of all, it's marketed broadly at the only demographic still paying for music - impressionable teenage girls.

It begins with pure boilerplate about some hypothetical beautiful girl.

Oh, her eyes, her eyes
Make the stars look like they're not shinin'
Her hair, her hair
Falls perfectly without her trying
She's so beautiful
And I tell her everyday
Yeah

So far, so ordinary. The tune is catchy, the sentiment prosaic.

But then it gets interesting. No, not interesting the way the Iliad is interesting, or the way Yeats is interesting, but the way that a well-constructed ad-campaign is interesting.

I know, I know
When I compliment her she won't believe me
And it's so, it's so
Sad to think that she don't see what I see
But every time she asks me "Do I look okay? "
I say...

These lines flow on effortlessly from the previous ones, constructing a narrative of a pretty but insecure girl. Makes sense.

Then you stop and think, and realise it makes no sense at all. Think back to the really pretty girls you've met. How many of them were in the category of:

a) Being really pretty, but for some reason being really insecure about that fact, and thinking instead they were actually quite ugly

vs.

b) Having known by at least age 10, if not earlier, that they were really hot, as evidenced by being treated nicely by strangers, complimented by adults, having men of various ages stare at them, and all the boys want to kiss them.

Reader, it is a very strong rule that the attractive women of the world generally know that they're attractive. Look at the model in the film clip - do you really think it's credible that 'when he compliments her, she won't believe him'? Don't make me laugh.

So we can be quite sure that song isn't really aimed at girls who are actually pretty but think they aren't. Those girls are unicorns. Rather, it's just aimed at girls who think they aren't pretty. They are a much larger demographic, due to the sad reality of the bell curve - only 2.5% of the population will be two standard deviations above the mean.

Girls who think they're not pretty are, sadly, probably right. But don't worry, Bruno Mars, this hunky romantic guy is here to tell you that you're actually beautiful and just don't know it! Sure, you may not be able to get him directly, but buy his CD anyway! Plus some other Bruno Mars surrogate will surely come along in your life soon.

Then the chorus makes a great segue:

[Chorus:]
When I see your face
There's not a thing that I would change
'Cause you're amazing
Just the way you are
And when you smile
The whole world stops and stares for a while
'Cause girl you're amazing
Just the way you are
Yeah

Notice how effortlessly the song shifts from the third person (she is beautiful) to the second person (you are beautiful). The song is now unashamedly being sung to the audience, just like the first photo. You, listener, are perfect! You shouldn't change anything, just be yourself. 

Talk about mainlining an IV drip of the most saccharine form of feel-good self-esteem culture. There's no problem that can't be fixed by feeling good about yourself.

Admittedly, this sentiment is perhaps less toxic in the area of attractiveness, where a good chunk of the effect really is fixed at birth. (It's more problematic to encourage students to feel good about the fact that they just failed the maths test). Maybe it's just not fun to realise that you're not that attractive, and this is just a palliative.

Perhaps. But the risk is twofold. First, you might just end up with unreasonably high expectations, and end up with nobody, instead of someone who's actually in your league. And secondly, you might think that self-esteem excuses you from self-improvement, especially in the areas where you can make a difference. 

I leave it to the reader to decide the extent to which the phenomenon of excessive self-esteem is a problem among modern American youth of both sexes.

(Also, if you want to hear a really catchy cover of the song that will make you hate yourself as much as I do, check out here.)

Things you can infer about 'Songs of Love'

I always enjoy when someone's choice of words reveal things about them that they almost certainly didn't intend to convey.

A great example of this can be found in the wonderful Ben Folds song, 'Songs of Love'.

Let me pose the challenge in advance to you. Where was Ben Folds when he was inspired to write the song?

I've put a copy of the video below. To make sure you focus on the important part of the lyrics, I've written down the first two verses. Read through them, and see if you can infer what I inferred.

Pale pubescent beasts,
Roam through the streets,
And coffee shops.
Their prey gather in herds,
Of stiff knee-length skirts,
And white ankle socks.
But while they search for a mate
My type hibernate,
In bedrooms above,
Composing their songs of love.

Young, uniform minds
In uniform lives,
And uniform ties,
Run round, with trousers on fire
and signs of desire they cannot disguise,
While I try to find words,
As light as the birds,
That circle above,
To put in my songs of love.

The song is here:

In case you want to guess, the answer is below the fold (no pun intended):

How It Ends

Further in the category of 'Songs That Are Made By One Really Good Line' comes the song 'How It Ends', by Devotchka. It was on the 'Little Miss Sunshine' soundtrack - I really disliked the movie, but the soundtrack was excellent.



The line in question is as follows:

'And you already know,
Yes you already know... how... this.. will... end.'

This is true for a surprisingly large number of things in life.

Deep down, you know how things will turn out. You pretend otherwise, thinking that somehow it won't end up the way you suspect it will. You convince yourself of the motivational power of optimistic thinking, and push aside doubts about the outcome.

The curse of having fairly good models of the world is that sometimes they'll tell you things that you wish weren't true.

Sons of Liberty

If one were forced to nominate a candidate for the "great libertarian song" (not 'greatest among a field of mediocrities', but great in an absolute sense), it's hard to beat Frank Turner's 'Sons of Liberty'

I find myself wondering how much Frank Turner and I would disagree on the solution to the problems facing England (and the West). Songs like 'Sons of Liberty' make me think that the distance might be small, but when you've also written songs called 'Thatcher f***ed the kids', part of my initial assessment is probably just projection.

But we assuredly agree on a number of the problems, and on what has been lost.

In terms of stirring opening lines, it's hard to beat these:

Once an honest man could go from sunrise to it's set
Without encountering agents of his state or government.

Quite right. It is nigh on impossible to imagine that today. You can only get something close by living somewhere incredibly rural.

Turner's assessment of how we ended up here has a lot to recommend too:

For centuries our forefathers have fought and often died,
to keep themselves unto themselves, to fight the rising tide.
And that if in the smallest battles we surrender to the state,
We enter in a darkness whence we never shall escape.

The democratic state always expands. This is the government analogue to 'The House Always Wins'. Sometimes, the expansion is jarring and immediate, like the New Deal. More often, it's slow and remorseless,  with every new regulation on food handling, bike helmets, child toy safety, maximum level of nitrate in water coming from the bore on your property, etc. etc. etc. Like a drone attack coming from everywhere, it's hard to fight them all off. The end result, as Turner describes, is that we acquiesce. 

But the song is only just starting to get interesting:

Wat Tyler led the people in 1381,
to meet the king at Smithfield
And issue this demand:
That Winchester's should be
the only law across the land,
The law of old King Alfred's time,
of free and honest men.

Are these not amongst the most remarkable lyrics in a pop/rock song that you've read in a long time?

First of all, to find anybody at all who even knows about the Peasants' Revolt, let alone has a firm opinion about it, let alone someone who is a popular musician... well, let's just say that's a lot of letting alone.

As for the virtues of King Alfred, on that Mr Turner and I agree. Holding technology and social development constant, I would much rather live under the system of government of monarchy under Alfred the Great than  democracy under David Cameron.

Democracy may tend to produce good governance (although even that is debatable), but democracy surely isn't the definition of good governance. If you can get the latter without the former, it's a boatload better than the former without the latter. The problem of monarchy, of course, is that Alfred the Great makes way for Ethelred the Unready.

But if you wanted a pithy summary of everything that's wrong with democracy in the 21st century, it's hard to beat this:

Because the people then they understood what we have since forgot:
That the government will only work for it's own benefit.

Preach it, Mr Turner!

The biggest mistake in politics is thinking that everything will be different if only your guys get elected. The reason to vote for conservative politicians is not that they'll be better administrators. Rather, it's the (probably vain) hope that they'll shrink the government, thus making it harder for you to be maladministered and expropriated.

The song ends with bold, but probably imprudent, advice:

So if ever a man should ask you for your business, or your name,
Tell him to go and f*** himself, tell his friends to do the same.
Because a man who'd trade his liberty for a safe and dreamless sleep
Doesn't deserve the both of them, and neither shall he keep

I presume he means when dealing with figures of authority, not that this advice should be taken to the limit:

Shylock: Hi Rob, how's it going?
Rob: Hi Shylock, pretty good. Shylock, I'd like you to meet my friend Tim.
Tim: Pleased to meet you. Sorry, what was your name again?
Shylock: Bah! Go f*** yourself, Tim. You too, Rob.

Seriously though, to the anarcho-capitalist, defiance of authority is a public good. It's beneficial to the public if the cops don't think they have absolute authority, but it's not necessarily personally advantageous to give Officer O'Rourke the middle finger during a traffic stop when he asks for your license.

Those at the less anarcho- end of the capitalist scale are reluctant to dispense the advice to scorn all vestiges of authority. So instead I'd rather end on the alternative rousing formulation of the chorus:

Stand up sons of liberty and fight for what you own!
Stand up sons of liberty and fight, fight for your homes!

Amen.

Alas, I fear that Mr Turner knows what I know - there are precious few sons of liberty still in England, and assuredly not enough to defend their collective homes. Think of it instead as a glorious defense of a lost cause, coupled with a tiny but vain hope that maybe all is not completely lost.

Thought of the Day

"Just when you think you've got it all worked out,
That's probably when they'll put you in the ground."

From the excellent song 'The Future', by The Limousines.

(via JWZ Mixtape 111)

Currently on the Holmes Playlist

The excellent 'Your ex-lover is dead', by 'Stars'

Lyrics here.

It's a wonderful song about two ex-lovers meeting each other by chance, and the awkwardness and regret and mixed feelings it inspired.

[Man]:
God, that was strange to see you again
Introduced by a friend of a friend
Smiled and said, "Yes, I think we've met before"
In that instant it started to pour

The man seems to view the reunion with a kind of distance. His demeanour suggests a brief affair which he discarded, an impression that gets reinforced later.

[Man]:
Captured a taxi despite all the rain
We drove in silence across Pont Champlain
And all of that time you thought I was sad
I was trying to remember your name.

Forgetting her name seems to make sense mainly as a metaphor, if they've been introduced. Which is a shame, because the scene becomes more poignant if he literally can't remember her name. Their tryst made such a small impression on the man. The 'I think we've met before' and the silence suggest an awkwardness on his part at the situation, and a certain desire to extricate himself from the situation, but piqued interest in seeing her again, and a brief reigniting of the initial spark (tempered with the strangeness of the situation).

At this point, we switch to the woman's perspective:

[Woman]:
This scar is a fleck on my porcelain skin
You tried to reach deep but you never got in
And now you're outside me, you see all the beauty
Repent all your sin.

Nothing but time and a face that you'll lose
I chose to feel it and you couldn't choose
I'll write you a postcard, I'll send you the news
From the house down the road from real love

Immediately, we can see that the man's insouciance is not at all shared by the woman. It's clear that the ending of their affair was painful for her in a lasting way. The implication of her tone (especially the 'repent all your sin' line) is that the man ended the affair, possibly in a somewhat indifferent or callous fashion. This captures the sadness of so many casual relationships - they are rarely actually casual for both parties, and if they last any length of time, it becomes increasingly likely that someone's feelings will be hurt. The woman strikes a somewhat defiant demeanour, insisting that she has moved on, and that the loss is his - the scar of her hurt is now only a fleck, after all.

But this speech is an internal monologue - they sit in silence, after all. This is the woman telling herself that she is better off.

In the next verse, we see past the initial posture - though she has moved on, the pain is not far beneath the surface, and she expresses it with a touching honesty:

[Woman]:
There's one thing I have to say so I'll be brave
You were what I wanted
I gave what I gave
I'm not sorry I met you
I'm not sorry it's over
I'm not sorry there's nothing to save
I'm not sorry there's nothing to save

I love these lines so much. They capture incredibly well the conflict in her feelings - the hurt, the rejection, and a determination to move past it. To own up to this is indeed brave. The easy thing would be to maintain the facade of pure indifference and disdain, but that would ring hollow and false.

Originally, I thought that the last lines above were 'I'm not sorry there's nothing to say'. I think this would work even better - despite the woman's claimed importance of what she has to say, it is ultimately cathartic. There is indeed nothing to say, only mixed emotions that die in the ashes of long burned out love affairs.