Occupy Wall Street is a pluralist protest that's better at asking questions than offering answers. By cherry-picking messages and images, its critics are missing the bigger picture.
When the now-national demonstrations against the Wall Street / Washington status quo began in New York last month, it was easy (too easy, it turns out) to write the whole thing off as a hackneyed, vapid hipster fest. The most confident early appraisals were essentially verbalized eye-rolls: In mainstream news coverage, new-to-CNN business anchor Erin Burnett's first reported segment on the story was called "Seriously?!," a heading that said everything she needed it to. On the (non-libertarian) right, National Review editor Rich Lowry quickly gratified anyone who might happen to hate being surprised by Rich Lowry, identifying the protestors as a "a juvenile rabble" and "woolly-headed horde," "the perfect distillation of an American Left in extremis." Some on the (old-school) left, meanwhile, showed their own acute disdain, with political cartoonist Ted Rall -- author of Wake Up, You're Liberal!: How We Can Take America Back From the Right -- writing that "for me and other older, jaded veterans of leftist struggle, [Occupy Wall Street's] failure was a foregone conclusion. ... yet another opportunity to agitate for real change was being wasted by well-meant wankers."
... this non-movement movement was doomed before it began by its refusal to coalesce around a powerful message, its failure to organize and involve the actual victims of Wall Street's perfidy (people of color, the poor, the evicted, the unemployed, those sick from pollution, etc.), and its refusal to argue and appeal on behalf of a beleaguered working class against an arrogant, violent and unaccountable ruling elite--in other words, to settle for nothing less than the eradication of capitalism.
Now, weeks later, The New Republic has set out to fill a remaining gap on the anti-OWS spectrum, declaring in a behind-the-paywall editorial for the magazine's November 3 issue that liberals should oppose the movement -- chiefly on account of "the protestors' apparent allergy to to capitalism and suspicion of normal democratic norms," but also on account of their "creepy" ways of trying to reach, and speak with, consensus.
Yes, TNR is castigating Occupy Wall Street for its putative group-think in a collective statement published under the byline "The Editors." But don't be too distracted by the irony. There's an important issue here: The more we want to take the revolutionary (vs. reformist) strains in OWS rhetoric seriously, the more we'll have to ask a question that real revolutionaries have ended up with some grim answers to, from the Jacobins of the 18th century through the Bolsheviks and Maoists of the 20th: How is society going to work after the Revolution?
The thing is, it's only theoretically an important issue. No one at any Occupy Wall Street demonstration across the country today is actually overthrowing capitalism or America. No one is doing anything to precipitate the overthrow of capitalism or America. No one is even plotting actions that could at-all plausibly threaten to precipitate the overthrow of capitalism or America. True, a bunch of OWS protesters in New York did listen attentively as the Slovenian Marxist-Lacanian critical theorist Slavoj Zizek spoke to them about how awesome it would be if American capitalism came to an end, and how in China people are at least still able to dream of a better world, unlike us, and how blah blah blah. But Slavoj Zizek always talks that way, to the -- let's be clear -- relatively few people in the world who are seriously interested in what he has to say. We shouldn't be shocked that a guy like him would show up at demonstrations like this, nor should we attribute more significance to an appearance like that than it deserves. By all means, let's oppose Slavoj Zizek. But let's not pretend that opposing Slavoj Zizek is somehow opposing the philosophical underpinnings of Occupy Wall Street. You're not going to scratch the surface of signs reading "I Have a 4.0 GPA and $20,000 in Debt; Where's My Bailout?" or "We Want Our Country Back, Bitche$" or "I'm for Regulating the Banks; Apparently That Makes Me a RADICAL" and find Slavoj Zizek. You'll find real people with real stories trying -- with varying degrees, and kinds, of success -- to speak to the economic and political circumstances that determine their lives. Some will be confused, sure, maybe ridiculous; but many have already shown themselves to be, whether ultimately right or wrong, informed, smart, and serious. Why summarily "oppose" them? Why not, say, engage them in conversation? There's no good reason to suspend criticism about Occupy Wall Street, or necessarily to buy into any one of its zillion messages; but there's no good reason, either, just to pick our favorite things to hate about Occupy Wall Street and then tell ourselves that the whole multifaceted, rapidly changing movement must be those things writ large.
Douglas Rushkoff has an intriguing take on Occupy Wall Street that wouldn't have been intuitive to most of us a few weeks ago but may now seem more and more plausible. He thinks it represents the emergence of a new, distinctive, and authentically 21st-century type of social movement, one that a residually 20th-century media is still having a hard time getting its head around:
... we are witnessing America's first true Internet-era movement, which -- unlike civil rights protests, labor marches, or even the Obama campaign -- does not take its cue from a charismatic leader, express itself in bumper-sticker-length goals and understand itself as having a particular endpoint. Yes, there are a wide array of complaints, demands, and goals from the Wall Street protesters: the collapsing environment, labor standards, housing policy, government corruption, World Bank lending practices, unemployment, increasing wealth disparity and so on. Different people have been affected by different aspects of the same system -- and they believe they are symptoms of the same core problem. ... this is not a movement with a traditional narrative arc. As the product of the decentralized networked-era culture, it is less about victory than sustainability. It is not about one-pointedness, but inclusion and groping toward consensus. It is not like a book; it is like the Internet.
Of course, however well we might understand Occupy Wall Street now, in September and October, we can't really anticipate what the movement will turn into, let alone what a "21st-century social movement" is capable of turning into. Occupy Wall Street could, as far as we know, develop a more traditional organizational hierarchy and "narrative arc." It could fragment into different camps with different policy priorities, or with no policy priorities. It could end up being co-opted by one or more of the interest groups that have already joined with it in apparent solidarity. Who knows. But that's all the more reason why we shouldn't try to write the book on Occupy Wall Street anytime soon. Instead, let's follow this story as it evolves. Let's take advantage of Twitter, Tumblr, Vimeo, and other social media to see it and understand it in ways we haven't been able to see and understand mass-dissent movements in the past. Let's be like the Internet.
The Fourth of July—a time we Americans set aside to celebrate our independence and mark the war we waged to achieve it, along with the battles that followed. There was the War of 1812, the War of 1833, the First Ohio-Virginia War, the Three States' War, the First Black Insurrection, the Great War, the Second Black Insurrection, the Atlantic War, the Florida Intervention.
Confused? These are actually conflicts invented for the novel The Disunited States of Americaby Harry Turtledove, a prolific (and sometimes-pseudonymous) author of alternate histories with a Ph.D. in Byzantine history. The book is set in the 2090s in an alternate United States that is far from united. In fact, the states, having failed to ratify a constitution following the American Revolution, are separate countries that oscillate between cooperating and warring with one another, as in Europe.
A new book by the evolutionary biologist Jerry Coyne tackles arguments that the two institutions are compatible.
In May 1988, a 13-year-old girl named Ashley King was admitted to Phoenix Children’s Hospital by court order. She had a tumor on her leg—an osteogenic sarcoma—that, writes Jerry Coyne in his book Faith Versus Fact, was “larger than a basketball,” and was causing her leg to decay while her body started to shut down. Ashley’s Christian Scientist parents, however, refused to allow doctors permission to amputate, and instead moved their daughter to a Christian Science sanatorium, where, in accordance with the tenets of their faith, “there was no medical care, not even pain medication.” Ashley’s mother and father arranged a collective pray-in to help her recover—to no avail. Three weeks later, she died.
Defining common cultural literacy for an increasingly diverse nation.
Is the culture war over?
That seems an absurd question. This is an age when Confederate monuments still stand; when white-privilege denialism is surging on social media; when legislators and educators in Arizona and Texas propose banning ethnic studies in public schools and assign textbooks euphemizing the slave trade; when fear of Hispanic and Asian immigrants remains strong enough to prevent immigration reform in Congress; when the simple assertion that #BlackLivesMatter cannot be accepted by all but is instead contested petulantly by many non-blacks as divisive, even discriminatory.
And that’s looking only at race. Add gender, guns, gays, and God to the mix and the culture war seems to be raging along quite nicely.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
In 1992, the neuroscientist Richard Davidson got a challenge from the Dalai Lama. By that point, he’d spent his career asking why people respond to, in his words, “life’s slings and arrows” in different ways. Why are some people more resilient than others in the face of tragedy? And is resilience something you can gain through practice?
The Dalai Lama had a different question for Davidson when he visited the Tibetan Buddhist spiritual leader at his residence in Dharamsala, India. “He said: ‘You’ve been using the tools of modern neuroscience to study depression, and anxiety, and fear. Why can’t you use those same tools to study kindness and compassion?’ … I did not have a very good answer. I said it was hard.”
Former Senator Jim Webb is the fifth Democrat to enter the race—and by far the most conservative one.
In a different era’s Democratic Party, Jim Webb might be a serious contender for the presidential nomination. He’s a war hero and former Navy secretary, but he has been an outspoken opponent of recent military interventions. He’s a former senator from Virginia, a purple state. He has a strong populist streak, could appeal to working-class white voters, and might even have crossover appeal from his days as a member of the Reagan administration.
In today’s leftward drifting Democratic Party, however, it’s hard to see Webb—who declared his candidacy Thursday—getting very far. As surprising as Bernie Sanders’s rise in the polls has been, he looks more like the Democratic base than Webb does. The Virginian is progressive on a few major issues, including the military and campaign spending, but he’s far to the center or even right on others: He's against affirmative action, supports gun rights, and is a defender of coal. During the George W. Bush administration, Democrats loved to have him as a foil to the White House. It’s hard to imagine the national electorate will cotton to him in the same way. Webb’s statement essentially saying he had no problem with the Confederate battle flag flying in places like the grounds of the South Carolina capitol may have been the final straw. (At 69, he’s also older than Hillary Clinton, whose age has been a topic of debate, though still younger than Bernie Sanders or Joe Biden.)
Brian Grazer has some rules for success. He hasn’t always followed them.
There’s no secret formula to making a hit, according to Brian Grazer, the producer of film and TV successes like 24, Splash, Apollo 13, A Beautiful Mind, Empire, and Friday Night Lights. But there are some guidelines. “In television I don't ever want to try and reinvent the wheel,” he said on stage at the Aspen Ideas Festival on Friday. “But changing the spokes within the wheel is a good thing.”
Take Jack Bauer, the terrorist-fighting hero of 24. “He does thing that are very wish-fulfillment oriented,” Grazer said. “That makes people very excited, because wish fulfillment almost always works. You have to root for the character, and rooting for the character is rooting for what they want. It's easier to root for what somebody wants if what they want is noble.”
How a re-creation of its most famous battle helped erase the meaning of the Civil War.
"No person should die without seeing this cyclorama," declared a Boston man in 1885. "It's a duty they owe to their country." Paul Philippoteaux's lifelike depiction of the Battle of Gettysburg was much more than a painting. It re-created the battlefield with such painstaking fidelity, and created an illusion so enveloping, that many visitors felt as if they were actually there.
For all its verisimilitude, though, the painting failed to capture the deeper truths of the Civil War. It showed the two armies in lavish detail, but not the clash of ideals that impelled them onto the battlefield. Its stunning rendition of a battle utterly divorced from context appealed to a nation as eager to remember the valor of those who fought as it was to forget the purpose of their fight. Its version of the conflict proved so alluring, in fact, that it changed the way America remembered the Civil War.
For centuries, experts have predicted that machines would make workers obsolete. That moment may finally be arriving. Could that be a good thing?
1. Youngstown, U.S.A.
The end of work is still just a futuristic concept for most of the United States, but it is something like a moment in history for Youngstown, Ohio, one its residents can cite with precision: September 19, 1977.
For much of the 20th century, Youngstown’s steel mills delivered such great prosperity that the city was a model of the American dream, boasting a median income and a homeownership rate that were among the nation’s highest. But as manufacturing shifted abroad after World War II, Youngstown steel suffered, and on that gray September afternoon in 1977, Youngstown Sheet and Tube announced the shuttering of its Campbell Works mill. Within five years, the city lost 50,000 jobs and $1.3 billion in manufacturing wages. The effect was so severe that a term was coined to describe the fallout: regional depression.
25 years ago, Roseanne Barr sparked national fury when she delivered an off-key rendition in San Diego. But the reasons behind outrage and praise for various interpretations have as much to do with politics as musical talent.
On July 25, 1990, the comedian Roseanne Barr stood in San Diego’s Jack Murphy Stadium before a baseball game, grabbed a microphone behind home plate, and, with her shirttails hanging out and sleeves rolled up, barked out what many consider to be the most unpatriotic performance of “The Star-Spangled Banner” in history. In a screech not unlike a fork being scratched across slate, Barr garbled her way through the lyrics, missed notes intentionally, and capped off the whole affair by grabbing her crotch and spitting on the ground. In her defense, those final gestures were meant as a parody of ballplayers’ behavior, but many of the 27,285 paying fans didn’t see it that way. What they saw was utter disrespect for the national anthem, and thus, the country. She had exercised her freedom of speech, so they exercised their right to boo her off the field.