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JOHN LENNON, SUNSET BOULEVARD AND THE PRICE OF FAME
2020 marks two anniversaries. The first is the 40th anniversary of the murder of ex-Beatle John Lennon (1940 – 1980) by the social misfit, Mark David Chapman (1955 – ). The second is the 70th anniversary of the release of Sunset Boulevard. Although they are separated by some thirty years, each event acts as a reminder of what can happen when the desire for fame gets out of hand.
At 10.50pm on December 8th, 1980, Chapman watched as Lennon and his wife, Yoko Ono (1933 – ) made their way through the entrance of the Dakota building, dropped into a combat stance, and fired five shots from his Charter Arms .38 Special revolver. Four bullets struck Lennon in the back and shoulder. The fifth missed and shattered a window.
Lennon was rushed to the Roosevelt Hospital where three doctors, two to three medical attendants, and nurse spent ten to twenty minutes trying to revive him. The doctors even tried opening his chest to perform a manual heart massage, but the damage to the vessels around his heart were too great. John Lennon was announced dead on arrival at 11.15pm.
Lennon had been shot at close range by four hollow-point bullets. Two had passed through his body, one had lodged itself in his upper left-arm, and a fourth had lodged itself in his aorta. The autopsy concluded that Lennon died of “hypovolemic shock, caused by the loss of more than eighty-percent of blood volume due to multiple through-and-through gunshot wounds to the left shoulder and left chest resulting in damage to the left lung, the left subclavian artery, and both the aorta and aortic arch.”
John Lennon’s murder and the plot of Sunset Boulevard mirror one another in many ways. Lennon was murdered by a deranged lunatic who believed he could achieve notoriety for himself by murdering a popstar. Similarly, Sunset Boulevard tells the story of a long forgotten, and equally demented, film star who achieves a return to fame by murdering her gigolo.
Sunset Boulevard was the product of a collaboration between Billy Wilder (1906 – 2002), Charles Brackett (1892 – 1969), and Donald McGill Marshman, Jr. (1922 – 2015). The story was based, in part, on the Evelyn Waugh (1903 – 1966) novel, The Loved Ones which recounted the author’s experiences in Hollywood and the funeral business. Wilder, who had become fascinated by American culture whilst living in Berlin, dreamt up a story about a long forgotten silent film star who resides in one of Sunset Boulevard’s grand houses. Brackett suggested making the story about the star’s comeback, whilst Marshman, Jr. suggested using it to explore the relationship between the forgotten film star and a young man.
Sunset Boulevard’s success was aided by three factors: the writing of Wilder, Brackett, and Marshman, Jr., the direction of Wilder, and the cinematography of John Francis Seitz (1892 – 1979). Seitz gave Sunset Boulevard a dreamlike quality in which fantasy and reality blend together almost seamlessly. The fantasy world Norma Desmond inhabits is shot in deep focus and made to look dark and ominous. By contrast, the real world that Joe Gillis inhabits is depicted as well-lit and filmed in a documentary-style fashion.
Numerous actors were considered to play Joe Gillis, including Fred MacMurray (1908 – 1991) and Montgomery Clift (1920 – 1966). Clift was originally signed to play the part, but withdrew from the project at the last minute. The role eventually went to William Holden (1918 – 1981).
Joe Gillis is a down and outer. Prior to meeting Norma Desmond, Gillis’ situation is so dire that he actually considers returning to his newspaper job in Dayton, Ohio. He is hounded by debt collectors, forced to use the telephone at Schwab’s drugstore because he cannot afford one of his own, and is even fired by his own manager. Gillis believes that he can live the life of an expensive playboy by reading Desmond’s script and entertaining her deluded fantasies. The problem is that he has to make a Faustian pact in order to do so.
The reason Gillis finds Desmond’s offer so tempting is that he has become jaded about the Hollywood system. He represents the writer as just a mere cog in the movie-making machine. He notes the general lack of recognition for the writer and his craft, the writer’s uncertain prospects, the likelihood of executive meddling, and the ever-present risk of plagiarism. He complains that Hollywood will reject your script if it is too original or if it is not original enough.
Norma Desmond, Sunset Boulevard’s antagonist, was based on a myriad of silent film actresses. The name is believed to be derived from the silent film star, Mabel Normand (1892 – 1930) and the film director, William Desmond Taylor (1872 – 1922), who’s sensational 1922 murder has never been solved. Suggested models for Desmond include Norma Talmadge (1894 – 1957), Mary Pickford (1892 – 1979), Pola Negri (1897 – 1987), Mae Murray (1885 – 1965), Clara Bow (1905 – 1965), and Valeska Surratt (1882 – 1962).
Norma Desmond was played by former silent film star, Gloria Swanson (1899 – 1983). Like Desmond, Swanson had been a major silent film star and was known for her beauty, talent, and extravagant lifestyle. And like Desmond, her film career faded with the coming of sound. Unlike Desmond, however, Swanson was able to accept the end of her film career, moved to New York in the early-thirties, and pursued a successful career in theatre, radio, and television.
Norma Desmond has come to symbolise an entire generation of silent film stars whose were thrust aside by the advent of sound. When her star fell, Desmond retreated into her gothic mansion and built up a fantasy world where she was still a big star. At one stage she tells Gillis that she had the floor of her ballroom tiled at the behest of Rudolph Valentino (1895 – 1926), as though Valentino was still a big star. She speaks in melodramatic tones, acts like an infatuated schoolgirl in Gillis’ company, and engages in acts of emotional blackmail through mock suicide attempts.
Desmond refuses to admit that the “parade has long since passed her by.” Incapable of functioning in the real world, she has constructed a fantasy life for herself. Any attempt to bring her out of her stupor is met with either denial or indignation. Towards the end of the movie, Gillis informs her: “Norma, you’re a woman of fifty, now grow up. There’s nothing tragic about being fifty, not unless you try to be twenty-five.” And just like John the Baptist in Salome (the 1891 Oscar Wilde tragedy Desmond has chosen to adapt), Gillis pays for the faux pas with his life.
When Sunset Boulevard premiered, Louis B. Mayer (1884 – 1957) reportedly shouted at Billy Wilder: “You bastard! You have disgraced the industry that made you and fed you. You should be tarred and feathered and run out of Hollywood.” Mayer had reason to be angry, too. Sunset Boulevard is perhaps one of the most scathing criticisms of Hollywood ever made. The film indicted Hollywood for its treatment of the writer, its obsession with youth, its toxic star system, and cult of celebrity worship.
In a world of social media and reality television, the murder of John Lennon and the story of Sunset Boulevard is more potent today than ever before. Thanks to reality TV and social media sites like Facebook, Instagram, and Twitter, it is far too easy for mentally unstable people to achieve easy fame. How long will it be before society produces another Mark David Chapman or Norma Desmond?
TRANSGENDERISM IS NO BASIS FOR PUBLIC POLICY
It has been over fourteen-year since David Reimer, the victim of an insane and evil scientific experiment, committed suicide. After his penis had been burnt off in a botched circumcision, David’s parents had turned to the infamous sexologist and social constructionist, Dr. John Money for help. Following Dr. Money’s advice, David’s parents agreed to allow a sex change operation to be performed on their young son and raised him as a girl.
Despite Dr. Money’s boasting that his experiment had been a success, however, David Reimer did not settle comfortably into his female identity. David tore up his dresses at three, asked if he could have his head shaved like his father, and engaged in all manner of boyish behaviour. David was bullied at school and, upon hitting puberty, decided that he was a homosexual (in reality, of course, he was heterosexual).
Finally, when he was fourteen David’s parents revealed the truth about his gender identity. David reverted to his masculine identity, broke off contact with Dr. Money whom he described as an abusive brainwasher, and received a non-functioning penis through phalloplasty. Unable to handle the immense psychological damage that had been inflicted upon him, David Reimer blew his brains out with a shotgun at the age of thirty-eight.
For all of human history, boy has meant boy and girl has meant girl. Traditionally, sex was used to refer to the biological markers of gender. If you were born with a penis and an XY chromosome, you were a man. If you were born with a vagina and an XX chromosome, you were a woman. One’s gender expression was thought to compliment one’s biological sex. A biological man would have masculine personality traits and a biological female would have feminine personality traits. These complimentary characteristics, among them body shape, dress, mannerisms, and personality, were thought to be produced by a mixture of natural and environmental forces.
Recently, however, gender theorists have begun to question the relationship between biological sex and gender identity. They argue that gender, which they see as distinctive from sex, is a social construct. Since gender refers to the expression of masculinity and femininity, gender is something that a person acquires. (Needless to say, this movement is driven by a pernicious post-modern, Neo-Marxist worldview). Under this philosophy, gender expression is the manner in which a person expresses their gender identity. Gender identity is expressed through dress, behaviour, speech, and nothing else besides.
Neuroplasticity provides the gender theorist with perhaps his greatest argument. If underlying brain processes are theoretically strengthened through repetitive use, it follows that gender identity comes from a narrowing down of potential gender categories through the repetitive use of certain brain processes. However, it also reveals a fatal flaw in the gender theorist’s (and social constructionist’s) philosophy. If the human brain is so malleable that an individual’s gender identity is constructed, then why can’t the brain of a transgender person be adapted out of its transgenderism?
The primary problem with gender theory is that it just plain wrong. The idea that gender is distinct from sex has absolutely no basis in science whatsoever. As Jordan Peterson, the Canadian psychology/philosopher, has stated: “the idea that gender identity is independent of biological sex is insane. It’s wrong. The scientific data is clear beyond dispute. It’s as bad as claiming that the world is flat.” Men and women differ both at the cellular and the temperamental level. Unlike men, for example, women menstruate, they can have babies, and they show a slew of personality characteristics that mark them as different from men. David C. Page, the Director of the Whitehead Institution at the Massachusetts Institute of Technology, has even claimed that genetic differences exist at the cellular level asserting that “throughout human bodies, the cells of males and females are biochemically different.” These differences even affect how men and women contract and fight diseases.
The philosopher Alain de Benoist has also strongly criticised gender theory. De Benoist argued against the scientific errors and philosophical absurdities in his work Non à la théorie de genre (No to Gender Theory).
First, De Benoist points out that the gender theorists have used the fact that some gender characteristics are socially constructed to argue that all characteristics are socially constructed.
Second, De Benoist argued that the “hormonal impregnation of the foetus” (as De Benoist puts it) causes the brain to become genderised because it has a “direct effect on the organisation of neural circuits, creating a masculine brain and a feminine brain, which can be distinguished by a variety of anatomical, physiological, and biochemical markers.”
Third, De Benoist argued that biological sex has a profound effect on the way people think, act, and feel. In order to support their theory, gender theorists are forced to deny the natural differences between men and women. De Benoist wrote:
“From the first days of life, boys look primarily at mechanized objects or objects in movement while girls most often search for visual contact with human faces. Only a few hours after birth, a girl responds to the cries of other infants while a boy shows no interest. The tendency to show empathy is stronger in girls than in boys long before any external influence (or “social expectations”) have been able to assert themselves. At all ages and stages of development, girls are more sensitive to their emotional states and to those of others than boys … From a young age, boys resort to physical strategies where girls turn to verbal ones … From the age of two, boys are more aggressive and take more risks than girls.”
Furthermore, gender theory cheapens what it means to be a man or a woman. And, by extension, it denigrates the contributions that each gender has to make to civil society. Gender values give people ideals to strive for and helps them determine the rules that govern human interactions. The idea that men and women ought to be treated the same is ludicrous beyond belief. No parent would like to see their son treat a woman the same way they treat their male friends. Men have been taught to be gentlemen and women have been taught to be ladies for a reason.
All of this is not to say, however, that those pushing transgender rights do not have a case. They are right when they claim that the transgender peoples of the world face discrimination, prejudice, and violence. Some countries treat transgenderism as a crime, and it is certainly true that transgender people are more likely to be victims of violence, including murder. A reasonable transgender rights argument would be that transgender people cannot help their affliction and that society ought to treat them with kindness, tolerance, and compassion.
Unfortunately, that is not the argument that gender activists like to make. Rather than focusing on promoting tolerance, gender activists have instead sought to do away with gender distinctions altogether (which is, more likely than not, their actual aim). Using a very tiny minority of the population as their moral basis, the gender activists are attempting to force society to sacrifice its traditional classifications of male and female.
Transgenderism is clearly a mental health disorder. In the past, it was referred to as “gender dysphoria”, considered a mental illness, and treated as such. To assert the fact that transgenderism is a mental health disorder is not a denial of an individual’s integral worth as a human being. It is merely the acknowledgement of the existence of an objective reality in which gender is both binary and distinct. Unfortunately, this is not the attitude of those who influence public opinion. Consequently, programs for LGBTQ youth have seen an increase in youth who identify as transgender. The transgender journalist, Libby Down Under, has blamed instances of rapid-onset gender dysphoria on the normalisation of transgenderism in the culture. With a slew of celebrities coming out as transgender (former Olympian Bruce Jenner being a primary example), and with transgender characters being featured on numerous television shows, many teens and tweens have suddenly decided that they are transgender despite having no prior history of gender confusion.
Transgender youth increasingly feel that it is their right to express themselves however they please. And they feel that it is their right to silence all who dare to criticise or disagree with that expression. Cross-living, hormone therapy, and sex reassignment surgery are seen as part of this self-expression. Alarmingly, the mainstream response of psychotherapists to these children and adolescents is the “immediate affirmation of [their] self-diagnosis, which often leads to support for social and even medical transition.”
It is a classic case of political posturing overshadowing the pursuit of truth. Most youth suffering from gender dysphoria grow out of their predilection. Dr. James Cantor of the University of Toronto has cited three large-scale studies, along with other smaller studies, to show that transgender children eventually grow out of their gender dysphoria. The Diagnostic and Statistics Manual 5th Edition claims that desistance rates for gender dysphoria is seventy to ninety percent in “natal males” and fifty to eighty-eight percent in “natal females.” Similarly, the American Psychological Association’s Handbook of Sexuality and Psychology concludes that the vast majority of gender dysphoria-afflicted children learn to accept their gender by the time they have reached adolescence or adulthood.
It is not a secret that transgenderism lends itself to other mental health problems. Forty-one percent of transgender people have either self-harmed or experienced suicidal ideation (this percentage, of course, does not reveal at what stage of transition suicidal ideation or attempts occur). The postmodern, neo-Marxist answer to this problem is that transgender people are an oppressed minority and that they are driven to mental illness as a result of transphobia, social exclusion, bullying, and discrimination.
It is typical of the left to presume that society is to blame for an individual’s suffering. And to a certain extent, they are right. Transgender people are the victims of discrimination, prejudice, and violence. But it is more than likely that these abuses exacerbate their problems rather than causing them. One in eight transgender people, for example, rely on sex and drug work to survive. Is that the fault of society or the fault of the individual? The National Center for Transgender Equality claims that it is common for transgender people to have their privacy violated, to experience harassment, physical and sexuality violence, and to face discrimination when it comes to employment. They claim that a quarter of all transgender people have lost their jobs and three-quarters have faced workplace discrimination because of their transgender status.
In Australia, there has been a move to allow transgender children access to hormone-blocking drugs and sex-change surgeries. Australian gender activists – surprise, surprise – support the idea of as a way to reduce the rates of suicide among transgender people. The Medical Journal of Australia has approved the use of hormone therapy on thirteen-year-olds despite the fact that the scientific community remains, as of 2018, undecided on whether or not puberty-blocking drugs are either safe or reversible.
In the United States, a great deal of debate has occurred over transgender rights. In particular, there have been debates over what bathroom they should be allowed to use, how they should be recognised on official documents, and whether they should be allowed to serve in the military. In 2016, former President Barack Obama ordered state schools to allow transgender students to use whatever bathroom they desire. Similar ordinances have been passed in hundreds of cities and counties across the United States. Seventeen states and the District of Columbia are subject to ‘non-discrimination’ laws which include gender identity and gender expression. These include restrooms, locker rooms, and change rooms.
In March of 2016, North Carolina passed a law which required people in government buildings to use the bathroom appropriate to their biological gender. The US Federal Government decried the decision as bigotry and accused the government of North Carolina of violating the Civil Rights Act. The Federal Government threatened to withhold over US$4 billion in education funding. The government of North Carolina responded by filing suit against the government of the United States. The US government responded by filing suit against North Carolina. North Carolina received support from Mississippi, Tennessee, and Texas whilst Washington received support from most of the northern states.
Pro-transgender bathroom policies are not limited to government, however. Many businesses in the United States have similar bathroom policies. Many large corporations, among them Target, allow transgender people to use the bathroom of their choice. And they are perfectly prepared to enforce these policies, as well. A Macy’s employee in Texas was fired after he refused to allow a man dressed as a woman to use the female change rooms. Similarly, Planet Fitness revoked the membership of a woman who complained that a transgender man was in the female change rooms.
The most alarming trend of the gender theory movement is the attempt to indoctrinate children through changes to the education system. In 2013, France unleashed the ABCD de l’égalité (the ABCs of Equality) on six hundred elementary schools. In their own words, the program was designed to teach students that gender was a social construct:
“Gender is a sociological concept that is based on the fact that relations between men and women are socially and culturally constructed. The theory of gender holds that there is a socially constructed sex based on differentiated social roles and stereotypes in addition to anatomical, biological sex, which is innate.”
The creators of the program are smart enough to include the disclaimer: “biological differences should not be denied, of course, but those differences should not be fate.”
Fortunately, it would seem that many people are not taken in by this race to fantasyland. They are not taken in by the idea that the program merely exists to combat gender stereotypes and teach respect, and have protested. The French Minister of Education dismissed the protestors by saying that they “have allowed themselves to be fooled by a completely false rumour… at school we are teaching little boys to become little girls. That is absolutely false, and it needs to stop.” In America, The Boston Globe dismissed the protests against the program as being motivated by fear. Judith Butler event went as far as to say that France’s financial instability was the true cause of the protests.
And such a profound misuse of the education system isn’t limited to France, either. In Scotland, teachers are given guidance by LGBT Youth Scotland, children are expected to demonstrate “understanding of diversity in sexuality and gender identity”, and children are allowed to identify as either a girl or boy, or neither. The government of the United Kingdom has mandated that transgender issues be taught as part of the sex and relationships curriculum in primary and secondary school. Justine Greening, the education secretary, said: “it is unacceptable that relationships and sex education guidance has not been updated for almost twenty years especially given the online risks, such as sexting and cyberbullying, our children and young people face.”
It is in Australia, however, that there is the most shocking case of gender theory indoctrination. A great deal of controversy has been generated over the Safe Schools program. The program, which was established by the Victorian government in 2010, is supposedly designed to provide a safe, supportive, and inclusive environment for LGBTI students. It states that schools have the responsibility to challenge “all forms of homophobia, biphobia, transphobia, intersexism to prevent discrimination and bullying.”
The Safe Schools program promotes itself as an anti-bullying resource supporting “sexual diversity, intersex and gender diversity in schools.” It requires Victorian schools to eliminate discrimination based on gender identity, intersex, and sexual orientation, including in terms of an inclusive school environment.
The program addresses the issues of sleeping and bathroom arrangements and dress code. In terms of dress code, the program states:
“An inflexible dress code policy that requires a person to wear a uniform (or assume characteristics) of the sex that they do not identify with is likely to be in breach of anti-discrimination legislation including under the Equal Opportunity Act (1984) SA”
Likewise, the program states on the issue of bathrooms and change rooms that “transgender and diverse students should have the choice of accessing a toilet/changeroom that matches their gender identity.” In addition, the program states:
“Schools may also have unisex/gender neutral facilities. While this is a helpful strategy for creating an inclusive school environment for gender diverse students broadly, it is not appropriate to insist that any student, including a transgender student, use this toilet if they are not comfortable doing so.”
The idea that a transgender boy or girl should be allowed to sleep, shower, and defecate in the same place as a group of boys or girls ought to ring alarm bells for everyone. It increases the risk of sexual activity, sexual assault, pregnancy, and the transmission of sexually-transmitted-diseases. There is a reason why schools segregate changerooms, toilets, and dormitories.
The tragedy of David Reimer reveals just how dangerous it is to ignore the truth in favour of a false and malevolent social philosophy. It is one thing to seek tolerance and compassion for those in the community who may be struggling with their identity. It is something else entirely to use the plight of transgender peoples as a means of cording society to change the way it categorises gender. And it is completely insane to allow a false philosophy like gender theory to be used as the basis of public policy. If we don’t want more tragedies like David Reimer’s, we should put gender theory out in the trash where it belongs.
HOLLYWOOD STEPS OUT
There is more to life than just politics. And in the spirit of such a sentiment, this article will take a light-hearted focus on an aspect of popular culture. In specific, it will examine the stars, personalities, and faces that are featured in the 1941 Merrie Melodies cartoon, Hollywood Steps Out.
The cartoon takes place in Ciro’s Nightclub, which is located from 1940 to 1957 on Sunset Boulevard. A neon sign ironically advertises a meal for $50.00 (US$860.00 in today’s money). The first two stars we see are Claudette Colbert (1903 – 1996), famous for playing sophisticated women in light-hearted comedies and emotional dramas, and Don Ameche (1908 – 1993), a film and radio personality who played debonair men. Seated behind them are Adolphe Menjou (1890 – 1963) and Norma Shearer (1902 – 1983), who played spunky and sexually liberated women.
The first interaction occurs between Cary Grant (1904 – 1986), iconic for playing debonair leading men, and the Swedish-American film star, Greta Garbo (1905 – 1990), who is acting as the cigarette girl.
In the next scene, we are introduced to Edward G. Robinson (1893 – 1973), who rose to fame playing gangsters in films like Little Caesar, talking to Ann Sheridan (1915 – 1967). Robinson makes reference to the fact that Sheridan had been voted the actress with the most “oomph” by asking her how her “oomph” is.
The cartoon then pans across a series of tables. At the first table is Henry Binder and Leon Schlesinger (1884 – 1949), both of whom were Warner Brothers staffers. The next three tables are empty. The first is reserved for Bette Davis (1908 – 1989), famous for playing unsympathetic, sardonic characters. The second is reserved for Kate Smith (1907 – 1986), the corpulent American signer. The third is reserved for the cast of Blondie, a radio sitcom that ran from 1939 to 1950. Finally, a fire hydrant has been reserved for Daisy the Dog.
The cartoon then takes us to the cloaking room. Johnny Weissmuller (1904 – 1984), an Olympic swimming champion best known for playing Tarzan (the famous Tarzan yell is his), hands Paulette Goddard (1910 – 1990), a former Ziegfeld girl and film star, his coat. Following Weissmuller is the burlesque dancer, Sally Rand (1904 – 1979). Rand hands Goddard her famous feathers and leaves, presumably naked.
At the bar sits James Cagney (1899 – 1986), famous for playing gangsters, Humphrey Bogart (1899 – 1957), famous for playing cynical and hardboiled characters in film noir pictures, and George Raft (1901 – 1980), also famous for playing gangsters. They are depicted drinking, planning a crime, and pitching pennies.
Harpo Marx (1888 – 1964), the famous prankster of the Marx Brothers, is seen lighting a match under Greta Garbo’s feet.
Next, Clark Gable (1901 – 1960), the undisputed King of Hollywood and star of films like Gone with the Wind, is depicted sitting alone at a table.
Bing Crosby (1903 – 1977), a famous crooner known for songs like “White Christmas, introduces the composer Leopold Stokowski (1882 – 1977) as the evening’s entertainment. Stokowski was best known for his work on Disney’s Fantasia.
In the restaurant, Dorothy Lamour (1914 – 1986), an actress and singer, asks James Stewart (1908 – 1997), known for playing shy, everyman characters, if he would dance with her. Stewart runs away after seeing Lamour dance and leaves behind a sign saying, “Mr. Smith Goes to Washington” (a reference to one of Stewart’s films).
Several famous stars are depicted on the dance floor. Tyrone Power (1914 – 1958), known for playing swashbuckling and romantic leads, dances with the Olympic champion figure skater and film star, Sonja Hennie (1912 – 1969). Frankenstein is depicted dancing mechanically. The Three Stooges, one of the most iconic slapstick comedy groups of all time, poke and slap each other in rhythm. Oliver Hardy (1892 – 1957), the fatter half of the Laurel and Hardy comedy duo, dances with two women at the same time. Finally, Caesar Romero (1907 – 1994), dances with Rita Hayworth (1918 – 1987), star of films like Gilda.
Mickey Rooney (1920 – 2014), who found fame playing Andy Hardy, and Judy Garland (1922 – 1969), a notable singer, dancer, vaudevillian, and film star best remembered for playing Dorothy in The Wizard of Oz. Rooney asks Lewis Stone (1879 – 1953), an American character actor, if he can have a “heart to heart talk” with him.
For the next performance, Crosby introduces Sally Rand (he introduces her as Sally Strand, no doubt for legal reasons) and her famous bubble dance. The radio personality and bandleader, Kay Kyser (1905 – 1985), calls to his students. These are William Powell (1892 – 1984), known for playing debonair men, Spencer Tracy (1900 – 1967), known for his natural style and versatility, Ronald Colman (1891 – 1958), Errol Flynn (1909 – 1959), the Australian-American film star famous for playing swashbuckling heroes, Wallace Beery (1885 – 1949), and the English cricketer and film star, C. Aubrey Smith (1863 – 1948).
The Austro-Hungarian born actor, Peter Lorre (1904 – 1964), known for playing creepy and cowardly characters, is depicted sitting at a table by himself. Henry Fonda (1907 – 1982), known for playing characters brimming with heroic integrity, sits at the next table. The voice that calls out “Hen-ree” is a reference to Alice Aldrich of the Aldrich family. Finally, J. Edgar Hoover (1895 – 1972), the legendary first director of the Federal Bureau of Investigation, is depicted repeating “g” over and over again.
At the next table is Boris Karloff (1887 – 1972), most famous for playing Frankenstein, Arthur Treacher (1894 – 1975), a comedian best known for playing stereotypical Englishmen, Buster Keaton (1895 – 1966), a silent-era comedian who legendary status is bettered only by Charlie Chaplin (1889 – 1977), and the Russian-American film star, Mischa Auer (1905 – 1967). The man who asks them if they are enjoying themselves is Ned Sparks (1883 – 1957), a Canadian character actor known for playing serious characters.
At the next table is Jerry Colonna (1904 – 1986), a well-known musician and comedian, sitting with the invisible man. Finally, the woman Clark Gable has spent the entire cartoon chasing is revealed to be none other than Groucho Marx (1890 – 1977).
WHAT ARCHER REVEALS ABOUT HUMAN GOODNESS
There is great truth to the sentiment that what appears simple and childish on the surface often hides the most profound and universal ideas of human goodness.
A cultural example of this phenomenon comes in the guise of the animated show, Archer. A show centred around the trials and tribulations of the men and women of the fictional independent, New York-based spy agency, ISIS (International Secret Intelligence Service).
That the show is both popular and critically acclaimed is self-evident. It has received an audience score of ‘9’ on Metacritic (based on 375 ratings) and an audience score of 92% on Rotten Tomatoes. Critically, it has been nominated for fifteen Annie Awards, and has won the Prime-Time Emmy awards, four Critics’ Choice Awards, and two Gold Derby Awards.
Archer’s popularity comes from two places. First, it’s exemplary use of meta-comedy, referenced-based humour, and use of rapid-fire dialogue that creates comedic elements which are, at the same time, crude and witty, nihilistic and meaningful. And second, its ability to create well-rounded characters who, despite their insufficiencies, are always willing to help one another.
It is the second part of this equation that I would like to focus on.
The primary example of this is displayed in the show’s protagonist, Sterling Archer. A man who could accurately be described as an immature, self-centred, narcissistic, and egotistical man-child. Archer is clearly a man who suffers from an abundance of emotional deficiencies. His abandonment issues stem from the lack of love he received as a child. His constant need to overcompensate for his insufficiencies, typically through drink, women, and sheer stupidity, is the result of being bullied at school.
As a consequence, Archer is a socially inept alcoholic and sex addict. And when combined with his narcissism, results in the kind of man who behaves recklessly not because he is fearless, but because he genuinely believes himself to be impervious to harm.
This is actually the primary joke of the show. Archer is not the “world’s most dangerous secret agent” because he is highly competent. Rather, he is the “world’s most dangerous secret agent” because his ineptitude makes him a danger to everyone around him.
Then there’s Archer’s boss and mother, Mallory. In many ways, she is worse than her son. She is, like her son, narcissistic and self-centred, and perhaps a little too fond of the bottle. However, unlike her son, who is capable of showing some humanity in spite of his self-centredness, Mallory is an emotionally cold, unloving, and hypocritical woman. She berates her employees but frequently embezzles money from her own company (usually for one materialistic splurge or another), and she’s perfectly willing to exploit the talents of her staff for her own personal gain.
Finally, there is Cyril Figgis, the mild-mannered and softly-spoken accountant who is, perhaps, the worse of the lot. Crippled with self-doubt and frequently the target of Archer’s provocations, Figgis is a man brimming with hatred and resentment. He is a man who abuses power once he gets it and fails to accept either advice or help from
What makes Archer a compelling show is that these characters are willing to help and forgive one another in spite of all their insufficiencies. Even Mallory Archer and Cyril Figgis are prepared to help their colleagues when they get into trouble, albeit begrudgingly. Sterling Archer may be a self-centred buffoon, but he’s the first person to come to his friend’s aid when they get in trouble. Heck, he even describes Pam Poovey, the overweight human resources manager, as his best friend.
This is why Archer is compelling to watch. It reminds us that human beings are not perfect, but they can still find it within themselves to help one another.
20 – 1 CONSERVATIVES JOURNALISTS
In today’s world of twenty-four-hour news cycles, infinite information, and endless news sources, knowing who to trust has become a virtually impossible task. To make this endeavour easier, I have compiled a list of the twenty conservative journalists, thinkers, and speakers I rely upon.
20. DAVE RUBIN
David Joshua Rubin (born 1976 in Brooklyn, New York) is a television personality, talk show host, and comedian. With a degree in political science from Birmingham University, Rubin was originally a host on The Young Turks before becoming the host of the popular, crowd-funded Youtube talk show, The Rubin Report.
The show, which has over half-a-million subscribers, features guests from both the political left and the political right and has been praised for its honest and politically incorrect approach to complex issues. Rubin, who considers himself a classical liberal, encourages discussion on all topics, no matter how controversial they might be.
Rubin is passionate about illustrating the difference between liberals and progressives and is responsible for popularising the expression “regressive left.” He has commented on issues like political correctness, free speech, mass media, religion, and more.
19. ANDREW BOLT
Andrew Bolt (born 1959 in Adelaide, Australia) is a journalist, editor, columnist, radio host, and television host. Armed with an arts degree from Adelaide University, Bolt began his career with a cadetship with The Age. Later he would move to The Herald where he worked as the paper’s Asian correspondent: fist in Hong Kong and then in Bangkok.
Bolt is known for his socially and politically conservative views. He has been at the forefront of many social and political debates and has talked about environmentalism, Islam, and many other topics. Radio host, Alan Jones referred to Bolt as a man who “sticks his head up (…) writing with clarity and conviction.” His columns and articles are published in The Herald Sun, The Daily Telegraph, The Advertiser, Northern Territory News, and The Courier News. He can be seen weeknights on The Bolt Report on Sky News.
18. MIRANDA DEVINE
Miranda Devine (born in the 1960s as the daughter of the legendary newspaperman, Frank Devine) is an Australian conservative columnist. With a degree in journalism from Chicago’s North-West University and a bachelor of science from Macquarie University, Devine began her career working for the Boston Herald as a feature writer and reporter. She returned to Sydney in 1989 and took up a position at the Daily Telegraph. Whilst Devine primarily works for The Daily Telegraphs, her columns are also published in The Sunday Telegraph, Sunday Herald Sun, and the Sunday Times. Devine also formerly hosted the Miranda Devine Show on 2GB radio until it was cancelled in 2015.
17. KATIE HOPKINS
Katie Olivia Hopkins (born 1975 in Devon, England) is a television personality, radio presenter, and columnist. Bursting onto the scene in The Apprentice, Hopkins has made a name for herself as a professional provocateur, writing for The Sun since 2013, and The Daily Mail from 2015 t 2017.
Holding no punches, Hopkins has tackled topics ranging from ginger-haired babies and social class to obesity and Islamic terrorism. She has been involved in numerous media stunts. In 2015, Hopkins gained and then lost a significant amount of weight to prove that obesity was caused by lifestyle and not genetics.
16. GLENN BECK
Glenn Lee Beck (born 1964 in Washington) is a talk show host, producer, entrepreneur, and political commentator. He is a defender of the US Constitution and is a supporter of free markets and individual liberties. Beck is the founder of The Blaze, a conservative news site in 2011 and owns Mercury Ink, a publishing imprint, in a partnership with Simon and Schuster. Beck’s radio show, The Glenn Beck Program, is nationally syndicated and is one of the most popular radio programs in America. He is married with four children.
15. MICHELLE MALKIN
Michelle Malkin (born Michelle Maglalang in 1970 in Philadelphia) is a television personality, blogger, syndicated columnist, and the author of six books, including: Invasion: How America Still Welcomes Terrorists, Criminals, and Other Foreign Menaces to Our Shores (2002), In Defence of Internment: The Case for ‘Racial Profiling’ in World War Two and the War on Terror (2004), Unhinged: Exposing Liberals Gone Wild (2005), Culture of Corruption: Obama and His Team of Tax Cheats, Crooks, and Cronies (2009), Who Built That: Awe-Inspiring Stories of American Tinkerpreneurs (2015), and Sold Out: How High-Tech Billionaires & Bipartisan Beltway Crapweasels are Screwing America’s Best and Brightest Workers (2015).
Malkin started her career at the Los Angeles Daily News in 1992. In 1996, she moved to the Seattle Times. Since then she has founded Twitchy and Hot Air, has had her popular newspaper columns nationally syndicated through Creators Syndicate, has been a frequent contributor on Fox News, and has been a guest on MSNBC, C-Span, and numerous radio programs. She is married with two children.
14. GAVIN MCINNES
Gavin Miles McInnes (born 1970 in Hitchin, UK) is a writer, actor, commentator, columnist, comedian, and entrepreneur. McInnes grew up in Canada and graduated from Concordia University in 1991 with a Bachelor of Arts. He co-founded Vice Media in 1994 with Suroosh Alvi and Shane Smith. Since then, he has written for Takimag, Truth Revolt, and The Federalist, has been a contributor and content-producer for Fox Digital and has been a frequent guest on The Blaze.
McInnes is the host of the Gavin McInnes Show on Compound Media. He considers himself a God-fearing, pro-life Catholic and is a member of the Knights of Columbus. McInnes has described feminism as a movement that “trivialised motherhood”, forces women to “pretend to be men”, and makes women “miserable.” He is the founder of the Proud Boys movement and has described himself as a “western chauvinist.” He is married with three children.
13. BILL WHITTLE
William Alfred Whittle (born 1959 in New York City) is a blogger, political commentator, film director, screenwriter, film editor, pilot, and author. Describing himself as “the voice of the common-sense resistance”, Whittle is a former writer for National Review Online, and is known for appearing in numerous PJ Media Youtube videos and short films.
Whittle is a frequent guest-speaker at Republican, Tea Party, High School, and University events. He has frequently appeared as a guest on radio and television, appearing on Fox News, The Dennis Miller Show, and Sun TV. He is the current host of PJ Media’s Afterburner, is the host of Firewall, and is the co-host of Right Angle with Stephen Green and Scott Ott.
12. STEPHEN CROWDER
Stephen Blake Crowder (born 1987 in Michigan, USA) is an actor, comedian, podcast host, and political commentator. He is a former Fox News contributor and is a frequent guest on The Blaze, The Glenn Beck Show, and The Dana Show.
Crowder is well known for satirising the political left through videos produced by various conservative media outlets, including PJ Media and Big Hollywood. He is the host of the conservative podcast, Louder with Crowder (available on I-Tunes and streamed on Youtube) which covers news, politics, and popular culture.
11. ANDREW KLAVAN
Andrew Klavan (born 1954 in New York City) is a novelist, screenwriter, political, commentator, and podcaster. He is the author of True Crime (adapted into a film directed by Clint Eastwood) and Don’t Say a Word (adapted into a film starring Michael Douglas), and has won the Edgar Award Twice.
Klavan has written essays and opinion editorials on politics, religion, film, and literature for a variety of conservative news publications, including City Journal and PJ Media. He has starred in a series of Klavan on the Culture videos and is the host of The Andrew Klavan Show which airs Monday through Thursday. He is married with two children.
10. DENNIS PRAGER
Dennis Mark Prager (born 1948 in Brooklynn, New York) is a radio host, musical conductor, political commentator, television host, and the author of The Nine Questions People Ask About Judaism (1976), Think a Second Time (1996), Happiness is a Serious Problem (1999), Still the Best Hope (2012), and The Ten Commandments (2015).
Prager has a double-major in history and anthropology from Brooklyn College and studied Arabic, comparative religion, and international history at the University of Leeds. In 2010, Prager launched the Prager University Youtube Channel which features short videos explaining the conservative view on particular subjects.
09. WILLIAM F. BUCKLEY, JR.
William Francis Buckley, Jr. (1925 – 2008) was an editor, author, political commentator, and television personality who was described by the historian, George H. Nash (1945 – ) as “arguably the most important public intellectual in the United States in the past half-century. For an entire generation, he was the preeminent voice of American conservatism and its first great ecumenical figure.”
Armed with a Bachelor of Arts with honours in political science, economics, and history, and buttressed with a transatlantic accent, wide vocabulary, and a sophisticated wit, Buckley was the founder of National Review, a publication for conservative intelligentsia, and the host of Firing Line, a public affair show that aired from 1966 to 1999. Over the course of his career, Buckley wrote over forty books, including several spy thrillers. His column, On the Right, was published in more than three-hundred newspapers.
Buckley was a devout Catholic who frequently attended Latin Mass. He married Patricia Taylor in 1950 and had a son, Christopher Taylor Buckley.
08. DINESH D’SOUZA
Dinesh Joseph D’Souza (born 1961 in Mumbai, India) is a conservative policy analyst, public speaker, writer, filmmaker, political commentator, and Christian apologist.
While studying at Dartmouth College, where he was a member of the Phi Beta Kappa, D’Souza wrote for the Dartmouth Review, an independent newspaper financed by alumni of Dartmouth College. Following his graduation with a Bachelor of Arts in English in 1983, he became the editor of the monthly journal, The Prospect – which was financed by Princeton University alumni. The journal would become controversial under D’Souza’s tutelage as it criticised, among other things, the University’s affirmative action policies.
Between 1985 and 1987, D’Souza worked as a contributing editor for Policy Review, a journal published by the Heritage Foundation. In an article entitled, The Bishops as Pawns, D’Souza opined that Catholic bishops were being used as pawns by the American left in an attempt to manipulate the public into opposing the use of American power abroad and the build-up of the US military.
D’Souza was made a national fellow at the Hoover Institute from 1998 to 2000 where had expertise in affirmative action, American cultural and principles, civil rights, education, political sociology, and American culture and values.
In 2010, D’Souza was made the President of The King’s College in New York. That same year he published The Roots of Obama’s Rage, it was later described as the best book of the year and formed the basis of the 2016 documentary, Obama’s America.
07. DAVID HOROWITZ
David Joel Horowitz (born 1939 in Queens, New York) is a conservative writer and intellectual. He graduated from Columbia University in 1959 with a Bachelor of Arts in English and subsequently earnt a master’s degree from the University of California at Berkeley. He is married with four children.
Horowitz is the founder of the David Horowitz Freedom Center, the founder of Students for Academic Freedom – an organisation dedicated to battling left-wing indoctrination and political correctness in higher education, the director of Discover the Networks – a website that keeps track of the connections between various left-wing groups and individuals, and the editor of FrontPage Magazine.
06. DOUGLAS MURRAY
Douglas Kear Murray (born 1979 in London, England) is a journalist, political commentator, and the author of five books, including: Bosie: A Biography of Lord Alfred Douglas (2000), Neoconservatism: Why We Need It (2005), Bloody Sunday: Truth, Lies, and the Saville Inquiry (2011), Islamophobia: A Very Metropolitan Malady (2013)), and The Strange Death of Europe: Immigration, Identity, Islam (2017). Murray is the associate editor of The Spectator.
As a journalist, Murray has written form Standpoint, The Wall Street Journal, and The Guardian on a wide variety of topics, including UK and US foreign policy, the Middle East (specifically Iran and Israel), national security, national defence, multiculturalism, Northern Ireland, Islam, domestic radicalisation, and terrorism. He has appeared on the BBC, Al-Jazeera, Question Time, News Night, Fox News, and Sky News. He is also a frequent debater at both the Oxford Union and the Cambridge Union.
Murray is the founder of the Centre for Social Cohesion, and is the associate director of the Henry Jackson Society. He has described multiculturalism as “the idea that Governments should bend over backwards to accommodate migrants”, dismisses the term ‘Islamophobia’, and has warned of a “creed of Islamic fascism – a malignant fundamentalism, woken from the dark ages to assault us now.”
05. MARK STEYN
Mark Steyn (born 1959 in Toronto, Canada) is a journalist, political commentator, author, and human right’s campaigner who has been described by the Boston Phoenix as “the most toxic right-wing pundit you’ve ever heard.”
Steyn is the author of three books: America Alone: The End of the World as We Know It (2006), After America: Get Ready for Armageddon (2011), and Climate Change: The Facts (2015. As a journalist, Steyn publishes his ‘Steynposts’ – his commentary on current affairs – Monday through Friday. He has been published in The Daily Telegraph, National Post, The Australian, The Irish Times, The Jerusalem Post, the Wall Street Journal, and many other publications.
Steyn hosted The Mark Steyn Show for two months before it was cancelled. He has been a regular guest on the Rush Limbaugh Program, The Sean Hannity Show, The John Oakley Show, and is a frequent guest-host on Tucker Carlson Tonight.
As a human right’s campaigner, Steyn is committed the protection of free speech and has been instrumental in the repeal of Canada’s section thirteen hate speech laws. He has spoken to the Canadian parliament, Australian parliament (where he was introduced by Julia Bishop), and the Danish parliament. He is married with three children.
04. ANDREW BREITBART
Andrew Breitbart (1969 – 2012) was a writer, columnist, journalist, and publisher. He began his career working for The Huffington Post, and as an editor for Drudge Report.
Many commentators have credited Breitbart changing the way people wrote about politics. He founded Breitbart in 2005, followed by Big Government, Big Hollywood, and Big Journalism.
Breitbart’s online campaigns made him a hero of the right. Breitbart was famous for using undercover videos to illustrate his point. He played a central role in the ACORN 2009 undercover videos controversy, was central to the firing of the Georgian State Director of Rural Development, Shirley Sherrod (1948 – ), and was instrumental in the downfall of the Democratic congressman, Anthony Weiner (1964 – ). He left behind four children.
03. PETER HITCHENS
Peter Jonathan Hitchens (born 1951 in Silema, Malta) is a journalist, political commentator, Christian apologist (in stark contrast to his brother, the atheist Christopher Hitchens), and the author of several books: The Abolition of Britain (1999), Monday Morning Blues (2000), A Brief History of Crime (2003), The Broken Compass (2009), The Rage of Against God (2010), The War We Never Fought (2012), and Short Breaks in Mordor (2014).
Hitchens served as a foreign correspondent in Moscow and Washington. He has worked as a reporter on education and industrial and labour affairs, then as a political reporter, and finally as deputy political editor for The Daily Express. He left the Daily Express in 2000 and currently writes for the Mail on Sunday. Hitchens was awarded the Orwell Prize in 2010.
Hitchens is a proud Christian and a social conservative who has described himself as an Anglican, social democrat, and Burkean Conservative. He has been critical of both the Labour Party and the Conservative party, is a supporter of traditional, Christian morals, and advocates a society ruled by personal conscience and the rule of law. He is married with three children.
02. MILO YIANNOPOULOS
Milo Yiannopoulos (born 1984 in Kent, England) is a journalist, author, political commentator, public speaker, and publisher. After failing to gain a degree from either the University of Manchester of Cambridge University, Yiannopoulos began his career in journalism when he gained a position at The Catholic Herald.
Yiannopoulos first came to prominence reporting on the Gamergate controversy. He fought against the politicisation of video games and described those who wished to politicise video game culture as “sociopathic feminist programmers and campaigners, abetted by achingly politically correct American tech bloggers.”
Yiannopoulos has been described as a cross between a pit-bull and Oscar Wilde. A vehement anti-feminist and critic of Islam, he holds no punches when it comes to attacking and ridiculing his opponents. All are targets for his ire and ridicule.
Yiannopoulos has been described by his enemies as a white supremacist and a member of the alt-right. Labels that he rejects. In reality, he is a contrarian, a fly in the ointment that has made name for itself as a professional troll and talented provocateur.
01. BEN SHAPIRO
Benjamin Aaron Shapiro (born 1984 in Los Angeles, California) is a political commentator, columnist, the co-founder and former editor-in-chief of Truth Revolt, the editor-in-chief of The Daily Wire, and a New York Times best-selling author. Among the books he has written have been: Brainwashed: How Universities Indoctrinate America’s Youth (2004), Porn Generation: How Social Liberalism is Corrupting Our Future (2005), Project President: Bad Hair and Botox on the Road to the White House (2008), Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV (2011), Bullies: How the Left’s Culture of Fear and Intimidation Silences America (2013), The People vs. Barack Obama: The Criminal Case Against the Obama Administration (2014), A Moral Universe Torn Apart (2014), What’s Fair and Other Short Stories (2015), and True Allegiance (2016).
Shapiro began his career writing for The Daily Bruin, the student paper of the University of California at Los Angeles. He was suspended from The Daily Bruin after he complained on radio talk shows that the paper had refused to publish an article he had written accusing Muslim student groups of supporting terrorism. By the time he was seventeen, Shapiro had become the youngest nationally syndicated journalist (he was so young, in fact, that his parents had to sign his contract on his behalf).
Ben “facts don’t care about your feelings” Shapiro has become one of the most prominent voices of the millennial conservative movement. Holding no punches, Shapiro possesses a remarkable ability to demolish left-wing arguments with a lawyer’s precision and debater’s skill. He is a pro-life, anti-Black Lives Matter, and supports reductions in taxes on the rich, the privatisation of social security, and the repeal of Obamacare.
Shapiro is a frequent speaker on US college campuses and is a regular commentator on television and radio, including The O’Reilly Factor, The Lars Larson Show, Fox and Friends, The Dennis Prager Show, and more. Shapiro’s daily podcast, The Ben Shapiro Show was named the second-most popular I-Tunes podcast in the US after Oprah Winfrey. It is available on I-Tunes.
Ben Shapiro holds a Bachelor of Arts in political science from the University of California at Los Angeles and a Juris Doctor from Harvard University. He is an Orthodox Jew and is married with two children.
THE RAVEN
The writings of Edgar Allan Poe (1809 – 1849) evokes images of murderers, madmen, premature burials, and mysterious women who return from the dead. Our common image of him is of a mysterious, somewhat melancholy figure who frequents cemeteries and other creepy places. However, his influence extends far beyond the gothic and the macabre, he is credited with the invention of the modern detective story and with innovating the science fiction genre. Over the course of his lifetime, Poe wrote hundreds of essays, books on scientific theory, short stories, poems, book reviews, and novels. His classics, like The Tell-Tale Heart and The Fall of the House of Usher, have thrilled readers for nigh-on two centuries. For this week’s cultural article, we will be examining his poem, The Raven.
BIOGRAPHY
Edgar Allen Poe was born on January 19th, 1809 in Boston, Massachusetts. Both his father, David Poe, Jr. (1784 – 1811), and mother, Elizabeth Arnold Hopkins Poe (1787 – 1811), were travelling actors who died by the time Poe was three-years-old. While his siblings, William Henry Leonard Poe (1807 – 1831) and Rosalie Poe (1810 – 1874), were sent to live with other families, Poe was adopted by the wealthy tobacco merchant, John Allan (1779 – 1834), and his wife, Frances Valentine Allan (1784 – 1829), in Richmond, Virginia.
In 1826, Poe left home to study ancient and modern languages at the University of Virginia. Unfortunately, John Allan had provided Poe with only a third of the funds he would need to support himself at the university. Although Poe excelled in his classes, he managed to accumulate a considerable amount of debt. By the end of his first term, Poe’s financial situation had become so dire that he was forced to burn his furniture to keep warm.
Poe left the university after just a year and returned home. Back in Richmond, Poe discovered that his fiancée, Elmira Royster (1810 – 1888), had become engaged to Alexander Shelton (1807 – 1844). He lived in John Allan’s home, but animosity between the two caused him to leave after only a few months.
John Allan had raised his adopted son with the intention that he would become a businessman and gentleman. Poe, however, rejected his adoptive father’s aspirations and set out to emulate his hero, Lord Byron (1788 – 1824), by making himself a great writer and adventurer. He achieved the former with the publication of his first book, Tamerlane, at the age of eighteen. The latter he achieved by enlisting in the United States Army. Two years later, he was accepted into the United States Military Academy at West Point.
Following his expulsion from West Point after only eight months, Poe travelled to Baltimore, Maryland – the home of his biological father – to seek help from relatives. Although one of his relatives robbed him in the middle of the night, Poe was able to find refuge in the home of his aunt, Maria Clemm (1790 – 1871). It was there that Poe met and fell in love with his cousin, Virginia Eliza Clemm (1822 – 1847). Around the same time, Poe’s adoptive father, John Allan, died. Poe, who was living in poverty at the time, was left out of Allan’s estate.
Despite this, Poe’s writing career was progressing at a steady pace. He was already publishing his short stories and was able to gain an editorial position at the Southern Literary Messenger in Richmond. The combination of Poe’s scathing book reviews and his sensational stories made the Southern Literary Messenger the most popular magazine in the southern United States.
In 1835, the twenty-six-year-old Poe married the thirteen-year-old Virginia and brought her and her mother with him to Richmond. Later, dissatisfaction with his pay at the Southern Literary Messenger would cause Poe and his young wife to move to New York, and later Philadelphia, Pennsylvania, where he would write for numerous magazine publications.
Poe wrote his most famous poem, The Raven (1845), whilst living in New York. Its publication made him a household name and provided him with the funds and opportunities to buy the Broadway Journal, publish two books, and demand higher wages. However, rumours of an extra-marital affair, financial difficulties, and Virginia declining health forced Poe to leave the city in 1846. Poe moved to a country cottage where, in 1847, Virginia succumbed to tuberculosis.
Poe slipped into a deep depression and lost the ability to write for several months. Then, in the summer of 1849, he returned to Richmond and rekindled his relationship with his former fiancée, Elmira Royster Shelton. Elmira, like Poe, was a widow. The pair became engaged and planned to marry when Poe returned from a trip to Philadelphia and New York.
On his way to Philadelphia, Poe disappeared in Baltimore for five days. He was found in the bar room of a public house (which had been used as a polling station in a recent election) in a state of delirium. Poe was taken to Washington College Hospital. Edgar Allen Poe died there, aged forty, on October 7th, 1849.
POEM
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
POEM ANALYSIS
The Raven is characterised by the nightmarish nature of its images and themes. There is talk of wild dreams, burning souls, and imaginary perfumes. The poem’s most vivid image, that of the stately raven, tortures the narrator with its continuous repetition of the word, “Nevermore” (whether or not this is just a figment of the narrator’s imagination is never established). Similarly, the poem mentions “quaint and curious volume of forgotten lore” as a reference to antiquated, and forgotten, books of antiquated traditions and knowledge (who knows? maybe the narrator was experimenting with pagan or occult practices). Elsewhere, the poem mentions “a bust of Pallas”, a reference to the Greek titan Pallas, and “Night’s Plutonian shore”, referring to the underworld of Roman mythology.
THE ROAD NOT TAKEN
This week for our cultural article, we will be examining Robert Frost’s (1874 – 1963) poem, The Road Not Taken.
First appearing in Frost’s poetry collection, Mountain Interval, in 1916, The Road Not Taken is one of America’s most enduring poems. It has become a part of our cultural lexicon, appearing in in numerous films and books, among other mediums, including, most notably, Dead Poet’s Society (1989), as well as in advertisements for Nicorette, Mentos, AIG, Ford, and more.
ROBERT FROST
Robert Lee Frost was born in San Francisco, California, on March 26th, 1874, to William Prescott Frost, Jr. (185- – 1885), a journalist, and Isabella Moodie (1844 – 1900). William Frost would die of tuberculosis when Frost was eleven years old. Shortly after, he would move with his mother and younger sister, Jeanie, to Lawrence, Massachusetts.
It was during high school that Frost first developed an interest in poetry and literature. In 1892, Frost enrolled at Dartmouth College in Hanover, New Hampshire. He dropped out after only two months and took a series of menial jobs – teacher, cobbler, and editor of the Lawrence Sentinel, among others – to support himself. Later he would attend Harvard University but would drop out due to poor health.
Robert Frost published his first poem, The Butterfly, in the New York newspaper, The Independent, in 1894. On December 19th, 1895, Frost married Elinor Miriam White (1873 -1938), with whom he had shared valedictorian honours in high school. Together, the couple would have six children, only two of whom would live to see old age. Elliot Frost, born 1896, would die of Cholera in 1900. Carol Frost, born 1902, would commit suicide in 1940. Marjorie Frost, born 1905, would die in childbirth in 1935. Elinor Frost, born 1907, would die in infancy. Only Leslie Frost, born 1899, and Irma Frost, born 1903, would live to see old age.
After failing to generate enough income as farmers in New Hampshire, the Frosts emigrated to England in 1912. There Robert Frost made numerous friends, and garnered inspiration, with various British poets and writers. Among these were Edward Thomas (1878 – 1917), Rupert Brooke (1887 – 1915), Robert Graves (1895 – 1985), and Ezra Pound (1885 – 1972) – who helped Frost publish and promote his poetry. The Frosts returned to America in 1915. By this time, Robert Frost had published two collections of his poetry, A Boy’s Hill, published 1913, and North of Boston, published in 1914.
By the 1920s, Robert Frost had become the most celebrated poet in America. He received more and more accolades, which included Pulitzer prizes, with every collection of poetry he published.
In 1938, Robert Frost was widowed when his wife, Elinor, lost her battle with breast cancer. He never remarried. Between 1958 and 1959, Frost served as the consultant for poetry at the Library of Congress. Robert Frost died in Boston, Massachusetts, on January 29th, 1963. He was eighty-eight years old.
THE POEM
WHITE HOUSE BACKS BILL TO BAN ABORTIONS AFTER TWENTY-WEEKS
The Trump administration has officially backed legislation that will ban abortions after twenty weeks. A statement from the White House read:
“The bill, if enacted into law, would help to facilitate the culture of life to which our Nation aspires. Additionally, the bill would promote a science-based approach to unborn life, as recent advancements have revealed that the physical structures necessary to experience pain are developed within 20 weeks of fertilization”
The bill, which is labelled the ‘Pain-Capable Unborn Child Protection Act‘, is being sponsored by Republican Congressman from Arizona, Trent Franks. Under the bill, anyone who performs or attempts to perform an abortion on a fetus twenty-weeks or older will face criminal penalties, including a fine or a term of imprisonment of up to five years. Naturally, exceptions have been made which will allow women to utilise the medical procedure after the deadline if her life is in danger or if she is a victim of rape or incest.
As if on cue, the bill has faced a strong backlash from morally repugnant pro-choice groups, who have slammed it as ‘cruel’ and ‘unconstitutional’ (because America’s founding fathers totally believed in the right to murder unborn babies). Heather Boonstra of The Hill condemned it as an attempt to “politicise women’s health, limit access to abortion care and stigmatise people who need later abortions” (the accusation of ‘politicising’ women in any way is a little rich coming from the left). Similarly, Planned Parenthood tweeted: “20 week abortion bans are: unpopular, unconstitutional, part of the agenda to ban ALL abortion.”
THE NIGHT THEY DROVE OLD DIXIE DOWN
This week for our cultural article we will be examining The Band‘s 1969 folk-rock song, The Night They Drove Old Dixie Down.
BACKGROUND
Rolling Stone magazine has described The Band as a group that “linked American folklore to primal myths.” They were founded in 1958 when Ronnie Hawkins (1935 – ) formed a backing band that would become known as Ronnie Hawkins and the Hawks. The first future Band member to join would be drummer Levon Helm (1940 – 2012).
Ronnie Hawkins and the Hawks toured the American south. This was followed by a tour of Ontario, Canada. While in Canada, Willard Jones departed and Ronnie Hawkins was forced to hire a new pianist. He found one in Scott Cushnie. However, Cushnie would only agree to join if Hawkin’s hired Robbie Robertson (1943 – ) as well. Reluctantly, Hawkins agreed, and Robertson replaced Jimmy Evans on bass. After a short while, Robertson would be moved to rhythm guitar, playing behind Fred Carter’s (1933 – 2010), and, briefly, Roy Buchanan’s ((1939 – 1988)) lead.
In 1961, Rick Danko (1943 – 1999) joined Ronnie Hawkins and the Hawks on bass. This was followed by the arrival of Garth Hudson (1937), a classically trained organ player who could read music.
1959 to 1963 were Ronnie Hawkins and the Hawks glory years. Hawkins himself even sported a quasi-Elvis like quality. However, he was also quickly becoming the odd man out in the group. By the summer of 1963, Ronnie Hawkins and the Hawks had parted ways.
Following Hawkin’s departure, The Hawks selected Levon Helm to be their frontman and renamed themselves, alternatively, Levon and the Hawks, and Canadian Squires.
It was their work as Bob Dylan’s (1941 – ) backing band that first brought The Band to attention. The group had first been introduced to Dylan by blues singer, John Hammond, Jr. (1942 – ). Initially, Dylan only hired Helm and Robertson but was quickly encouraged to hire the rest of the group, as well.
With Dylan, The Band was forced to reconcile themselves with a new kind of music and a new type of audience. With Ronnie Hawkins, they had played as a tightly formed musical unit playing rhythm and blues-based rock. Their chief influences were the music put out by Chess Records in Chicago and Sun Records in Memphis. Most of their audiences were interested in having a good time. With Dylan, on the other hand, they were forced to adapt to electric adaptations of folk songs to audiences who seemed determined to reject them, if only on principle.
In October of 1967, the group had been writing their own songs. They were signed to Capitol Records and adopted the name, The Band. Their first album was 1968’s, Music From Big Pink. Their first album, 1968’s Music From Big Pink, managed to gain a mystique similar to albums like Beggar’s Banquet (1968) and Abbey Road (1969).
Between 1969 and 1975, The Band enjoyed great influence and popularity. They followed their first album with 1969’s The Band. This was followed by Stage Fright in 1970. Later that year, The Band would tour with Janis Joplin (1943 – 1970) and The Grateful Dead on the Festival Express Canadian concert tour.
Unfortunately, cracks were already beginning to appear with The Band‘s framework. Robbie Robertson was exerting greater control of the group. Helm argued that Robertson was being authoritarian and greedy, but Robertson justified himself by arguing that Helm, Danko, and Richard Manuel’s (1943 – 1986) heroin usage were making them increasingly more unreliable. Despite their troubles, The Band released Cahoots in 1971. This was followed by the live album Rock of Ages. In 1973, The Band released Moondog Matinee.
On November 25th, 1976, The Band gave their final farewell performance. The concert, which would later be dubbed The Last Waltz, would feature guests Joni Mitchell (1943 – ), Ronnie Hawkins, Bob Dylan, Muddy Waters (1913 – 1983), Dr. John (1940 – ), Van Morrison (1945 – ), Ringo Starr (1940 – ), Eric Clapton (1945 – ), Ronnie Wood (1947 – ), Bobby Charles (1938 – 2010), Neil Diamond (1941 – ), and Paul Butterfield (1942 – 1987).
The Band released their final album, Islands, in 1977 and disbanded later that year.
LYRICS
Virgil Caine is the name and I served on the Danville train
‘Til Stoneman’s cavalry came and tore up the tracks again.
In the winter of ’65, we were hungry, just barely alive.
By May the tenth, Richmond had fell,
It’s a time I remember, oh so well
The night they drove old Dixie down,
And the bells were ringing.
The night they drove old Dixie down,
And the people were singing,
They went, “La, la, la”
Back with my wife in Tennessee,
When one day she called to me:
“Virgil, quick, come see, there goes Robert E.Lee.”
Now I don’t mind choppin’ wood
And I don’t care if the money’s no good.
You take what ya need and you leave the rest,
But they should never have taken the very best.
The night they drove old Dixie down,
And the bells were ringing.
The night they drove old Dixie down,
And the people were singing,
They went, “La, la, la”
Like my father before me, I will work the land.
And like my brother above me, who took a rebel stand.
He was just eighteen, proud and brave
But a Yankee laid him in his grave.
I swear by the mud below my feet
You can’t raise a Caine back up when he’s in defeat
The night they drove old Dixie down,
And the bells were ringing.
The night they drove old Dixie down,
And the people were singing,
They went, “La, la, la”
The night they drove old Dixie down,
And the bells were ringing.
The night they drove old Dixie down,
And the people were singing
They went, “La, la, la”
INTERPRETATION
The story of The Night They Drove Old Dixie Down begins in August of 1968 when Robbie Robertson was inspired to write a song about the “beautiful sadness” of the South. The finished song would appear on The Band‘s self-titled second album: a concept album that used people, places, and traditions within Americana as musical themes.
The song is set to the backdrop of the American Civil War (1861 – 1865). In his book, American Oracle, historian David Blight (1949 – ), explained how the Civil War helped define the United States’ self-conception:
“For reasons explored in this work and elsewhere, the American Civil War has been forever an event that for reasons explored in this work and elsewhere, the American Civil War has been forever an event that fiercely resists popular consensus about its causes and consequences; despite voluminous research and overwhelming scrutiny, it remains the mythic national epic. As a broad culture, Americans seem incapable of completely shucking this event from its protective shells of sentimentalism, romance, and pathos in order to see to its heart of tragedy. It might be argued that this is rightly so with national epics—they should or can never be utterly deromanticized. Or it might be argued that such epics are also dangerous to national self-understanding, to a healthy, informed confrontation with the meaning of the most important elements of our past, and therefore the imperatives of the present. Modern nations are and always have been built upon their narratives of origin and development, and in this case, of destruction and rebirth. This study of the Civil War’s literary and intellectual history, as well as its popular memory, engages the compelling question of how the United States, to an important degree, is the stories it tells itself about its Civil War and its enduring aftermath.”
This setting, of course, is a large part of the song’s appeal. Music journalist, Greil Marcus (1945 – ) wrote in his book, Mystery Train, that The Night They Drove Old Dixie Down had less to do with the Civil War itself and more to do with “the way each American carries a version of that event within himself.” Marcus went on to write:
“It is hard for me to comprehend how any Northerner, raised on a very different war than Virgil Kane’s, could listen to this song without finding himself changed. You can’t get out from under the singer’s truth—not the whole truth, but his truth—and the little autobiography closes the gap between us. The performance leaves behind a feeling that for all our oppositions, every American still shares this old event; because to this day none of us has escaped its impact, what we share is an ability to respond to a story like this one.
Similarly, Rolling Stone‘s Ralph J. Gleason (1917 – 1975) wrote that the song echoed Robert Penn Warren’s (1905 – 1989) sentiment of the Civil War as “history lived in our national imagination”:
“Nothing I have read … has brought home the overwhelming human sense of history that this song does. The only thing I can relate it to at all is The Red Badge of Courage. It’s a remarkable song, the rhythmic structure, the voice of Levon and the bass line with the drum accents and then the heavy close harmony of Levon, Richard and Rick in the theme, make it seem impossible that this isn’t some traditional material handed down from father to son straight from that winter of 1865 to today. It has that ring of truth and the whole aura of authenticity.”
The Band‘s The Night They Drove Old Dixie Down demonstrates how music and words can be used to give meaning and depth to a nation’s historical experiences.
THE PROBLEM WITH MULTICULTURALISM
At a security conference in Germany, the former British Prime Minister, David Cameron, condemned multiculturalism as a failure. He stated: “we need less of the passive tolerance of recent years and much more active, muscular liberalism.” In a similar statement, the French president, Nicolas Sarkozy, also condemned the doctrine of multiculturalism. Sarkozy told the French people: “we have been too concerned about the identity of the person who was arriving and not enough about the identity of the country that was receiving him.” In recent years, the Western nations that have preached multiculturalism and diversity as bastions of peace, tolerance, and diversity – Great Britain, France, Germany, the United States – have been the primary targets of radical Islamic terrorism.
Progressives like to believe multiculturalism and diversity create harmonious and peaceful societies. When, in reality, it creates division. Telling newcomers that they do not have to assimilate into their adopted culture fosters tribalism: Irish form communities with fellow Irish, Muslims form communities with fellow Muslims, Japanese form communities with fellow Japanese, and so forth. As these cultures, especially those lacking the fundamental roots and beliefs of their adopted countries, compete for supremacy, they inevitably conflict with one another. So, whilst Germanic and French cultures may be able to live harmoniously thanks to their shared Christian heritage, the same cultures would not fare as well if they were expected to co-exist with a culture whose central tenants are profoundly different.
Why am I harping on about the inherent faults in multiculturalism and diversity? It is because I believe we have created the greatest culture mankind has ever seen: a culture that has produced Shakespeare, Mozart, Voltaire, Plato, Aristotle, John Locke, freedom and democracy, the television, the I-Phone, the movies, free market capitalism, Van Gogh, Da Vinci, Einstein, Newton, Mary Shelley, the Bronte sisters, and more. And I believe it is a culture worth protecting. And how do we protect it? We start by protecting the very things that have made the West so great in the first place: Christianity, an adherence to truth and a deep esteem towards the logos, the supremacy placed on individual rights and liberties, the free-market place of ideas and commerce, Small Governments, and political freedom.
Moral and cultural relativism is being used to tear down and replace the existing social order. When the Mayor of London, Shadiq Khan, is able to state “terror attacks are part and parcel of living in a big city” and young German women are able to hold signs proudly proclaiming “will trade racists for rapists” unopposed, it is clearly time for certain ideas to go away.
King Alfred Press 