1. When the Nation published my tribute to Terry Teachout this week they used this photo of The Vile Body, a salon Teachout formed in late 1980s, which revived all sorts of memories of the cult of Waugh & the failed attempt to create an American cultural aristocracy.
2. When we think of cultural Reaganism, what usually comes to mind is the populist pop stuff: Family Ties, Rambo, Red Dawn etc. But there was a niche high end counterpart in the Waugh Revival. Tellingly, when PBS aired Masterpiece Theatre they got William F. Buckley to introduce
3. The Wauvian moment in 1980s had many roots: popularity of the BBC adaptation of Masterpiece Theatre, longstanding anglophilia in elite circles bolstered now Thatcher/Reagan relationship, desire for alternative canon to fight cultural liberalism.
4. The Vile Body as a social club was an attempt to give the Wauvian moment some sort of institutional solidity. Reportedly the name was suggested by filmmaker Whit Stillman, whose superb Metropolitan is a melancholy, wistful testament to Wauvian aspirations.
5. The Wauvian moment failed, with Metropolitan being the one lasting legacy (it's a great movie! watch it). Not for lack of talent since it included many fine writers: Teachout himself, Walter Olson, Donna Rifkind, Richard Brookhiser, Bruce Bawer.
6. The Wauvian moment failed not for lack of talent but for the simple reason that you can't will a cultural aristocracy into existence. What does it mean to Wauvian without the bordering schools, the landed aristocracy, a capital finance capital intertwined with that culture?
7. Aspirational Wauvianism started to fracture in 1990s for all sorts of reasons: marriage equality divided the gay conservatives from religious right, Catholic right's new alliance with white evangelicals meant greater cultural populism, new silicon valley $$ was futurist.
8. I mean the rich are always predominately philistine but Waugh could count on enough of them (and wannbes) sharing his traditionalism to make it viable. Now silicon valley plutocrats pay millions for ugly ape NFTs.
9. For more on Terry Teachout & his cultural projects, many more successful than the Wauvian moment, see here: jeetheer.substack.com/p/remembering-…
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1. "Reactionary centrism" is a bulls-eye description of a powerful political faction that is claims to be trying to save the Biden presidency but is actually working to capsize it: Manchin, Sinema, Friedman, David Brooks, many flying the "popularist" banner.
2. This Brooks tweet is a nice encapsulation of the project of reactionary centrism, which is to get Biden to throw overboard the progressive agenda & govern as a center right president.
3. There's a lot to be said about reactionary centrism, one of which is that these are sore winners. They've gotten everything they wanted: Biden as president, Machin as veto on agenda, national unity & norms rhetoric. If things are a mess, maybe look in the mirror?
1. A lot of twitter jokesters had a field day a New Yorker critic named The French Dispatch as the best film of 2021 -- it seemed a mite self-congratulatory for The New Yorker to celebrate a film celebrating The New Yorker.
2. There have been movies about The New Yorker & its writers before -- Mrs. Parker and the Vicious Circle, Joe Gould's Secret -- but none have been as polarizing as The French Dispatch, in part because its not just about the magazine but the myth of the magazine.
3. The myth of New Yorker was actually discouraged by the two editors who dominated the magazine for its first 60+ years, Harold Ross & William, both in their way men of the shadows who wanted editing to be invisible. They resented myth-making of Thurber, Brendan Gill, etc.
1. Mailer pseudo-kerfuffle follows a pattern: there's a type of male writer who tends to be a star when alive & then goes into reputational decline soon after death: macho, two-fisted, sometimes substance abusing: Hemingway, Hunter Thompson, Mailer, Harlan Ellison, Hitchens.
2. A commentator on my substack calls this literary school "penis-writing" and suggests it's fallen out of fashion. Hemingway has enjoyed a partial revival based on strength of his short stories, but it's hard to imagine Thompson, Mailer, Ellison or Hitchens doing same.
3. Hitchens is a particularly interesting case. The 10th anniversary of his death (Dec. 15, 2011) was last month and there is a flurry of attempts to reevaluate, shore up or restore, notably a @graydoncarter piece & @BenBurgis' new book.
1. Peter Sellers has an awkward cameo in Get Back. He showed up at the studio while the Beatles were uncertain of their fate after George Harrison briefly left the band. His appearance is a reminder though of how the band is part of the history of comedy as well as music
2. We all know about the British Invasion as a musical story: the Beatles, the Stones, the Who. But, less visible in North America, this efflorescence overlapped with the great flourishing of English comedy: The Goon Show, Sellers, eventually Python.
3. There were multiple links between the comedy explosion & music explosion. Both owing a debt to musical hall & nonsense literature, records as a major venue for comedy in that era, George Martin as a producer for Goon Show & other comedians before becoming Beatles impresario.
1. As Spider-Man leaps to top of box office charts, worth remembering so popular a character was created by a true eccentric. Steve Ditko, the primary creator, shunned the spotlight (unlike credit-hog Stan Lee), living in overlapping covert worlds of fetish porn & libertarianism
2. As I discussed earlier, from 1958-1968 (which encompass years he created Spider-Man) Ditko shared a studio with Eric Stanton, a specialist in fetish art. The two artists influenced each other & a fetish flair shaped Ditko's character design. jeetheer.substack.com/p/the-sexual-s…
3. During the years where he collaborated with Stanton and co-created Spider-Man (not just drawing the art but plotting stories, designing characters & providing first draft of dialogue), Ditko became Ayn Rand devotee. Which reinforced the fetishist proclivities.