Archive for the ‘Pepe The Frog’ Category

Here Are 19 Great New Art Movies You Can Stream Now, From a Philosophical Ode to Banksy to Dueling Exposs on the Knoedler Scandal – artnet News

The past year has been a tough one for the movie business. But despite the widespread closure of theaters and delays in releases,an impressive bunch of films related to the arts have come out.

From dueling documentaries on the infamous Knoedler forgery scandal to biopics on artists M.C. Escher to DavidWojnarowicz, here are 19 new art movies and where to stream them.

Undoubtably one of the biggest art scandals of the 21st century, the Knoedler forgery ring saw the eminent U.S. gallery sell some $80 million in forged mid-century masterpieces. Those involved said they did so unknowingly, despite an unverifiable provenances, wildly anachronistic materials, and, most damningly, a misspelled signature. Daria Price covers it all in this documentary. (Bonus: The film features expert commentary from Artnet Newss senior market editor Eileen Kinsella.)

Knoedler forgery scandal, take two. This documentary interviews Ann Freedman, the gallerys president, and a central figure in the forgery ring. She presents herself as the scams biggest victimbut was she actually its mastermind?

Chris McKim draws on the audio journals of the late artistDavid Wojnarowiczplus commentary from the likes of Fran Lebowitz, art dealer Gracie Mansion, and art critic Carlo McCormickto paint a full picture of the queer painter, photographer, writer, and activist, who died in 1992 of AIDS. The obscene title comes from a graffiti message that Wojnarowicz found scrawled on the street and appropriated for his art.

Artist Matthew Taylor directs a love letter toMarcel Duchamp, who changed the course of art history not once, but twice. First with his Nude Descending a Staircase, No. 2,which ignited controversyat the 1913 Armory Show in New Yorkeven as it ushered the Modernist movement into the mainstream, and then withThe Fountain, his urinal readymade that became a legendary Dada masterpiece.

Jennifer Trainer, who spent decades as the head of public relations at MASS MoCAin North Adams, Massachusetts (and is married to Joseph C. Thompson, its former director), directs a film celebrating the institution and the way it revitalized a rural town after local factories shut down. Meryl Streep offers some star power as the documentarys narrator.

Artist Ursula von Rydingsvard, known for her monumental wooden sculptures, shaped from towering cedar trunks, offers a behind-the-scenes look at the studio machinations that make her large-scale public artworks possible.

Novelist and filmmaker Veronica Gonzalez Pea spent two years interviewing the painterPat Steirin this intimate portrait of the groundbreaking feminist artist and her beloved waterfall paintings, made by dripping, splashing, and pouring paint.

For this documentary, director Dennis Scholl gained access to the personal life of Abstract Expressionist Clyfford Stillin the form of 34 hours of audio recordings of the artist, as well as interviews with his daughters, Diane Still Knox and Sandra Still Campbell.

Carlos Almarazwas a Los Angeles artist and Chicano art activist who died of AIDS in 1989. His widow, artist Elsa Flores Almaraz, along with actor Richard J. Montoya, co-direct this Netflix documentary about his life and legacy, including his struggles to come to terms with his identity as a Chicano and his bisexuality. Watch to find out why David Hockney, Richard Diebenkorn, Jack Nicholson, and Cheech Marin have all been fans ofAlmarazs work.

This HBO documentary is largely narrated by artist and curator David Driskell, who died last year. The film explains the influence of his seminal 1976 group show Two Centuries of Black American Art, and features prominent Black artists working today, includingTheaster Gates,Kehinde Wiley,andJordan Casteel,

After decades of supporting institutions behind the scenesincluding more than a decade heading the board at the Museum of Modern ArtNew York City art philanthropist Agnes Gund gets her moment in the sun with this documentary directed by her daughter Catherine Gund.

Illustrator Matt Furie never could have predicted the afterlife of Pepe the Frog, a character from his comic book seriesBoys Club. This documentary from Arthur Jones unravels the mystery of how the slacker frog morphed first into an internet mascot and a symbol of hate for the alt-rightand how Furie attempted to reclaim his most famous creation.

Martha Cooper, who in the 1970s became the first female staff photographer at the New York Post, has made a name for herself as the foremost documenter of graffiti art in New York City. Now, her unlikely career is itself the subject of a documentary film, directed by Selina Miles.

Norwegian filmmaker Benjamin Ree found a pair of unlikely documentary subjects in Barbora Kysilkova, a Czech painter, and Karl-Bertil Nordland, a thief that stole two of her paintings. The movie tracks their unlikely relationship as Kysilkova attempts to paint a portrait of the heavily tattooed criminal who committed the robbery because, she says, they were beautiful.

You might not know the name Gustav Stickley, but the late designer was a key figure in the American Arts and Crafts movement, which rebelled against industrialization. Director Herb Stratford provides a full picture of Stickleys life and career, and whats behind his lasting significance.

The mind-bending work of M.C. Escher, known for his optical illusions, was an exploration of both art and mathematics. Director Robin Lutz explores the evolution of the Dutch printmakers increasingly intricate work, animating his illustrations to stunning effect, with voiceovers from actor Stephen Fry.

This documentary from Aurlia Rouvier and Seamus Haley explores the various theories as to the identity of anonymous British street artist Banksy and praises his high-profile stunts, likeLove Is in the Bin, the shredding of aBalloon Girl print after it sold at auction. Its likely to be enjoyed most by diehard Banksy fans (one talking head apparently claims that Banksy is the Picasso of the 21st century).

In this indie film, directed by Michael Walker, three art school grads are determined to navigate the New York art world, even if they that means resorting to blackmail, betraying their friends, andperhaps worst of allpainting their own mothers in the nude. (Full disclosure: a group of real-life art-world professionals were called in as extras in the penultimate scene at a gallery opening, so keep an eye out for the writer.)

Director Halina Dyrschk continues the important work of restoring the legacy of pioneering Swedish painter Hilma af Klint, who began experimenting with abstraction five years before it was invented by Wassily Kandinsky. The film recounts Klints life and career, her descent into obscurity, and ultimate rediscovery, including theblockbuster 2019 exhibitionof her work at the Guggenheim Museum New York.

See the rest here:
Here Are 19 Great New Art Movies You Can Stream Now, From a Philosophical Ode to Banksy to Dueling Exposs on the Knoedler Scandal - artnet News

How Gamers and memes prompted a new wave of Neo-nazism by Felix Von der Geest Hampton school – This is Local London

A meme: an image, video, piece of text, etc., typically humorous in nature, that is copied and spread rapidly by internet users, often with slight variations.

Alt right: a right-wing ideological movement characterized by a rejection of mainstream politics(usually conservative politics) and by the use of online media to disseminate provocative content, often expressing opposition to racial, religious, or gender equality.

4chan: an online anonymous message board

Doxed: someone is to publicly identify or publish private information about that person

/pol/(short for politically incorrect): a forum on 4chan where people talk about politics, commonly associated with neo nazis and the alt-right.up to 30% of messages contain hate speech on the forum.

Everyone loves memes right? Well that Everyone includes the alt-right and over the last 5-6 years the alt-right have used memes and internet culture and gamingto recruit people into, sometimes neo-Nazi, organizations. This all reached a worrying crescendo at the capitol insurrection of January the 6th.

How did this happen?

A Report from the Media and manipulation project at the data society, an independent nonprofit research organization, credits the rise of the alt right to gamergate. gamergate started in 2014 when a few women, most notably Zoe Quinn, in the industry started calling out casual sexism withing videogames. These article where then used by a small group of people on the 4chan website to effectively wind up the gamer community and prove how in there eyes all feminists are evil. This small group used the the Gamer identity of a geeky, uneducated, unemployed male who may have trouble finding a romantic relationship, to perpetuate this anger at feminists in general. Quinn and other feminists were doxed and threatened. Although gamer gate finished in 2015, the seeds had been sown and internet culture had its first taste of being politicised. It also was a key moment for alt right leaders, who saw the power of gamer and meme culture to infiltrate communities and divide, in this case by gender.From gamergate communities such as mens rights activists and Incels(involuntary celibates) grew hugely in popularity.

The common feeling between gamers and the alt right, is that of oppression. During gamer-gate gamers were made to feel like they were oppressed as Journalists were attacking there games for sexism. This is the same feeling of Neo-nazis and white supremacists. The alt right used this feeling to radicalize gamers and those in the online world.

A key problem is the blurring of the line between a joke and something serious. At first someone may say I really like adolf Hitler this seems so ridiculous so is therefore taken as a joke, but once many others start to spew neo nazi and racist hate it becomes serious. The alt right infiltrate these servers and start posting things.

Another common tactic is hijacking memes such as pepe the frog, for many this is where the lines blur. The pepe the frog meme was once a harmless joke, but a white supremacist campaign which started on 4chan. The joke is used by both the alt right and the average internet user, so it is very hard to tell who is who. Therefore you cannot tell who is alt right and who isnt.

Real world impacts

Just a few years ago we saw the devastating impacts of radicalization during the Charlottesville unite the right rally, we saw a huge gathering of alt right members some of which dressed as.the pepe the frog meme and also the based stick man meme. There was 1 dead at the Charlottesville rally, the perpetrator was a known gamer. He had a prior criminal record involving violence towards his mother, when she asked him to stop playing games.

With the rise of Qanon, they are also targeting young people on social media, but they are using aesthetic to lure them in with the hashtag #savethechildren both president trumps campaigns have been shrouded with alt right activity for example the proud boys.

Conclusion

Like all young internet users I look at memes and enjoy them, just because they are used by the alt-right should not mean a full on ban of memes, that would be absurd. But legislation on the internet is outdated and has to be updated.

Visit link:
How Gamers and memes prompted a new wave of Neo-nazism by Felix Von der Geest Hampton school - This is Local London

5 Most Controversial Fast-Food Items Ever Created | Eat This Not That – Eat This, Not That

When fast-food companies get bad press, it's often due to their own marketing efforts backfiring. Burger King's tone-deaf International Women's Day tweet is a striking recent example. The McDonald's "#McDStories" campaign created the opposite of a feel-good response in a similar fashion when a 2018 Twitter campaign meant to promote McDonald's farmers prompted the sharing of negative stories about the brand instead. Even Wendy's once tweeted a dubious Pepe the Frog meme. Putting the proverbial foot in the mouth is practically a tradition with fast-food brands.

Sometimes, however, it's not the ads but the food itself that causes controversy, and the backlash in such cases can be more severe. The "all press is good press" saying doesn't quite hold up in the restaurant industry when the press is about menu items falling short of expectations or worse, causing digestive issues.

Here's a look at some of the most controversial menu items ever to be released in the fast-food industry. And for more, check out 9 Biggest McDonalds Controversies of 2020.

This pita-based sandwich from McDonald'sreportedly based on an original African recipedebuted in Norway in 2002. At the time of its release, parts of southern Africa, including Malawi and Zimbabwe, were experiencing famine conditions. The general public as well as the Norwegian Church Aid criticized McDonald's for its "inappropriate and distasteful" product launch.

Although Mcdonald's did not remove the McAfrika from its menu, it made a small concession by allowing charitable groups to collect donations at participating Norwegian locations. And as if they didn't fully get the message the first time around, McDonald's brought the McAfrika back to its menu in 2008, in time for the Olympicsand received a similarly negative reception.

RELATED: Don't forget to sign up for our newsletter to get the latest restaurant news delivered straight to your inbox.

Even canonical fast-food menu items can come under fire. In 2013, an Australian teen shared an image on Subway's Facebook page of a signature Subway footlong sandwich next to a rulerwhich clearly showed its true length to be eleven inches.

The image went viral and other customers began voicing similar complaints. Subway eventually issued a public statement in the Chicago Tribune, committing itself to greater consistency in its products. That wasn't enough for some customers, though, and a group of ten filed a class-action lawsuit against the sandwich chain. After years in court, the plaintiffs were awarded $500 apieceplus legal fees.

In 2015, Burger King launched the A1 Halloween Whopper, a regular Whopper burger served on a black bun which supposedly got its color from the A1 sauce being mixed directly into the dough. And while a nice idea, shortly after the burger's debut, stories began to circulate on Twitter about the product's effect on customers' bowel movements.

Many were reporting changes in the color of their stool, which was "almost grass green," according to one customer who perfectly summarized the popular opinion. Pamela Reilly, a naturopath interviewed by USA Today on the subject, speculated that the cause of the discoloration was probably the quantity of food dye used in the bunsnot the same kind of food dye used by A1, but a more "concentrated form." It's never a good day when stool color remains a burger's best-remembered legacy.

McDonald's debut of the McLean Deluxe in 1991 was its first foray into the emerging market of adult fast-food. The McLean was presented as a healthier version of the chain's popular hamburgers, and a whole line of Deluxe products was rolled out during the '90s.

However, the sales of the healthy burger failed to materialize, in part because the low-fat beef on which the McLean concept was based was not a hit with customers. The McLean burger patties lacked the taste and consistency of the traditional McDonald's burger. Moreover, a key ingredient in the McLean recipe turned out to be carrageenanan organic material related to seaweedwhich didn't make matters any better in terms of publicity or flavor. Within a few years of its debut, sales declined, and the item was eventually removed from the. McDonald's menu, only to be remembered as one of fast-food industry's biggest fails of all time.

McDonald's Szechuan Sauce was originally released in 1998 as a tie-in product for Disney's feature film Mulan. But the backlash against the sauce and its related advertising was almost immediate. Paul Leung, a Chinese-American Cornell student, started an email campaign criticizing McDonald's for the use of offensive imagery and language in its advertisingmaterial which Entertainment Weekly characterized as "ethnic stereotyping." Within a month of its release, the Szechuan sauce was removed from the menu.

The story doesn't end there, though. Due to some unsolicited promotion from Cartoon Network's animated show Rick and Morty, the demand for the Szechuan sauce suddenly re-emerged in 2017and McDonald's rose to meet it. The re-release was, unfortunately, botched. The chain ended up underestimating the demand for the product, which quickly sold out and enraged customers. Mobs of irate fans in California and Florida, clamoring for Szechuan Sauce, had the police called on them.

For more, check out the 108 Most Popular Sodas Ranked By How Toxic They Are.

Read the original post:
5 Most Controversial Fast-Food Items Ever Created | Eat This Not That - Eat This, Not That

NFT bubble: The craziest nonfungible token sales so far – CNET

A .gif of Nyan Cat sold for lots and lots (and lots) of money as an NFT.

Cryptocurrency is no longer the strangest online trend -- Those reins have been taken byNFTs. Nonfungible tokens have become a sensation, or scandal, thanks to the headline-grabbing insanity of it all: Memes being sold for the cost of a Tesla, tweets fetching seven-figure bids and digital art selling for $69 million.

Nonfungible assets are those that aren't interchangeable with one another. Every $100 bill holds the same value as any other $100 bill, therefore they are fungible. Houses, cars and collectables are nonfungible: Houses of the same size on the same street will sell for different prices, and the same model of the same car can similarly vary in cost.

Subscribe to CNET Now for the day's most interesting reviews, news stories and videos.

Which takes us to nonfungible tokens. They're essentially certifications of ownership recorded on a blockchain. Nonfungible tokens put the ownership of a digital product -- be it digital art, a video clip or even just a jpeg or gif -- on that ledger. In the age of NFTs, downloading a picture is like owning a print. Having the NFT is like owning the original painting.

Real digital artists are making real money on NFTs. Take Beeple. He's a digital artist with a huge fanbase, over 1.8 million followers on Instagram. Art he sold as an NFT recently fetched $69 million in a Christie's auction. That's insane to you or me, but not to people who frequent Christie's auctions, who spend $60 million on abstract expressionist paintings.

But even if there is a small percentage of NFT sales you can make sense of, there are many more which are absolutely, positively nuts.

For example...

When COVID-19 lockdown began last March, Brooklyn filmmaker Alex Ramrez-Mallis and four friends did the obvious thing: Started sending audio recordings of their farts to one another through a WhatsApp group chat. One year later, Ramrez-Mallis is auctioning 52 minutes of audio flatulence as an NFT.

The auction's starting price: $85. Would you pay $85 for farts? Would be a solid investment if you did, since someone out there was ultimately willing to pay 0.24 ethereum, or about $420, for the NFT. What's more, in addition to selling the 52-minute recording, he's also selling NFTs for individual farts. Several have been sold, including Fart #420for about $90.

"If people are selling digital art and GIFs, why not sell farts?" Ramrez-Mallistold the New York Post. Truer words, never spoken.

As the NFT craze catches headlines, brands are jumping on the bandwagon. Example, toilet-paper maker Charmin. In a series of tweets last week, Charmin introduced digital art -- various illustrations of rolls of toilet paper -- that it'll be putting up for sale as NFTs.

One, which looks potentially seizure inducing, has a top bid of roughly $2,120 (1.25 wrapped-ethereum). That's not a lot in the scheme of silly NFT sales, but it's a lot to spend on a toilet-paper advertisement. There are five other NFTs for sale, with bids ranging from $500 (0.3 wrapped-ethereum) to $1,693 (1 wrapped-ethereum).

"All proceeds will be donated to Direct Relief," Charmin said, "as part of our ongoing efforts to improve the lives of people impacted by poverty or emergency situations around the world."

Bad Luck Brian.

Remember Bad Luck Brian? It was a meme popularized in 2012, when a yearbook photo of high school student Kyle Craven, depicting him with braces and a plaid sweater, was posted to Reddit. People would post the picture with macro captions of unfortunate events, like "Escapes burning building. Gets hit by firetruck." (Most of the good ones are too NSFW for me to post here.)

Kyle Craven has had the last laugh, though, selling the yearbook photo as an NFT for $36,000. It's kind of a beautiful underdog story for the digital age. Kind of.

This art was sold as an NFT in $38,000 in 2018 and flipped three years later for $320,000.

This one is dumb, but also is an illustrative example of why people are buying NFTs: to sell them for more later on.

The above piece of art is like a Pokemon card for a hell-creature merge of Homer Simpson and Pepe the frog. Homer Simpson is, well, Homer Simpson, and Pepe is an internet frog that's popular on 4chan and other areas of the internet. The NFT for this art recently sold for $320,000.

The crazy part? The person who sold it wasn't its creator.He bought it back in 2018 for $38,000. So as preposterous as all of this NFT business is, it's worth noting that some people are actually making a lot of money flipping them.

Now we get into the stupid money.

Nyan Cat was a YouTube sensation nearly 10 years ago. It was a video of a pixelated cat with a Pop-Tart for a torso, along with the tune of a Japanese pop song. It has over 185 million views on YouTube, and has become a ubiquitous gif in the years since.

"The design of Nyan Cat was inspired by my cat Marty, who crossed the Rainbow Bridge but lives on in spirit," wrote its creator on the sales page for the NFT of Nyan Cat. It would end up selling for 300 ethereum -- $531,000.

"Just setting up my twttr," tweeted Jack Dorsey, co-founder and CEO of Twitter, back in 2006. Turns out that each of those words is worth over $580,000, as the NFT for that tweet sold for $2.9 million.

Dorsey has said the proceeds will be turned into Bitcoin and donated to GiveDirectly, a charity that helps six African countries with COVID-19 relief.

The philanthropy is nice -- not to be understated, since it'll likely save thousands of lives -- but there's also some clever marketing at play here. NFTs are closely related to cryptocurrency, since both are based on blockchain, to the point where NFTs are almost always bought with Ethereum, the second biggest currency after Bitcoin. So if you're a big investor in cryptocurrency, like Dorsey is, inflating the NFT bubble isn't a bad way to help your cryptoholdings appreciate.

Which is why it's not surprising to see Tesla CEO Elon Musk tweet about NFTs, and tease selling one in the future.

But despite the philanthropy, the guerrilla marketing and the distinct possibility that the buyer will be able to flip the tweet for $10 million in a few years, dropping $2.9 million on a tweet is a sign we've entered a new era of internet insanity.

See also: NFTs explained: These pricey tokens are as weird as you think they are

Now playing: Watch this: Tesla invests $1.5B in Bitcoin, E3 to go digital

1:22

Read the rest here:
NFT bubble: The craziest nonfungible token sales so far - CNET

Charles Kesler, author of Crisis of the Two Constitutions, on the case for Trump – Vox.com

If Trumpism had an intellectual home, it would be the Claremont Institute.

Claremont is a small but influential conservative think tank, tucked away in Southern California. It publishes the Claremont Review of Books, a leading journal of right-wing intellectuals, particularly those influenced by the 20th-century philosopher Leo Strauss.

You might recall an infamous viral essay from 2016 comparing America to Flight 93, a reference to the hijacked plane on 9/11 in which passengers stormed the cockpit. That piece, published by Claremont, told readers they faced a choice in November 2016: charge the cockpit or you die. In other words, vote for Donald Trump or watch the republic burn.

The Flight 93 essay is the most well-known thing Claremont has published, and probably the most provocative, but its also aligned with the institutions broader mission. Over the past four years, Claremont has tried to put intellectual meat on the bones of Trumpism. They may not like Trump, the guy, but theyve worked hard to provide a theoretical framework for his politics.

The editor of the Claremont Review, and really the face of the institution, is Charles Kesler. A professor of politics at Claremont McKenna College (which is unaffiliated with the Claremont Institute), Kesler is what Id call a measured thinker. He supported Trump but was always very careful about how he expressed it.

Kesler is out with a new book, called Crisis of the Two Constitutions, so I reached out to him to talk about the appeal of Trump. There was nothing mystifying about the popularity of Trump among the conservative base. He was a godsend to anyone who lived to see the libs triggered. But Kesler and the authors at Claremont are different. They saw in Trump an opportunity, perhaps the last opportunity, to turn the country around.

In this conversation, I press Kesler to explain what, exactly, he saw. Does he think the country is in mortal peril? And if so, why was Trump the solution? Kesler is a serious person, and at times, this is a frustrating exchange. But I believe it offers some insight into what the intellectuals who backed Trumpism are thinking, and why the American right is where it is now.

A lightly edited transcript of our conversation follows.

The tone of your book is not reactionary, but it did strike me as the lament of a reactionary, someone who really does believe that the country is on the brink. Is that how you feel?

I guess it depends on what you mean by on the brink. I dont think were on the brink of anything immediately. The trends are certainly bad, and I dont see a lot of healthy influences. But I dont think anythings inevitable in politics. Im definitely worried about my country, if thats what you mean.

No, thats not really what I mean. Were all worried. But there are many who think were in an actual political emergency.

I wouldnt say were in an emergency now. Were approaching a crisis unless things happen in between. I begin the book by pointing out that our politics could change considerably if some extraneous event happens, if a major war breaks out, or if the little green men land from outer space. There could be a game reset if the conditions really were to change suddenly.

But Covid-19 was a pretty big extraneous factor, and it seemed to make very little difference in our politics. It was easily absorbed into the ongoing disagreements. We just had more things to disagree about. We could argue about masks, and shutdowns, and opening up, and all the things that we have been arguing about in addition to the usual stuff from the past year.

Ill be honest: I think you think were in a political emergency, but you dont seem quite willing to say that at least not in the book.

There are lots of familiar conservative arguments in there about cultural decline, and, frankly, Im sympathetic to some of it, but my sense is that youre hesitant to signal your genuine alarm. And this is most clear when it comes to Trump, whom you never fully endorse but youre obviously not not endorsing him. For someone like you, a serious person with a real grounding in history, even a muted openness to Trump feels like an act of desperation.

An act of desperation?

I mean someone like you understands what Trump is, what he represents, and supporting him suggests you think things are sufficiently bad that the system has to be blown up in order to be saved.

I did, in fact, vote for Trump. And I published Michael Antons infamous Flight 93 essay back in 2016. So I cant be exonerated of Trump. But I honestly dont think theres an emergency.

I wrote my dissertation on Cicero, so I know something about Roman republican politics. And in that case, you had essentially 100 years of civil war, off and on, before what we would now recognize as the end of the republic. And its not clear that at any moment in that process, you couldve said, This is it. This is the last spiral, the last hundred years of republic. Were doomed. I think its very hard to read that. And were far from having pre-civil war conditions.

I dont agree with Ross Douthats account of America as a decadent society, though. His argument is that our decadence is more fundamental than our polarization, and that we could have many more centuries of continued rich decadence, and of being a superpower, without any impending catastrophe to worry about.

But that analysis doesnt recognize that America, as you say, has always been a contentious and fractious polity. Weve had a lot of diversity in American history and American politics. And thats why we should be concerned about challenges to unity, because our unity is a constructed political thing, and it takes more maintenance and inspiration than people may believe.

How could someone worried about American unity look at a guy like Trump and think thats a solution to our problems?

Well, I think he had a chance. His message, his policies, could have been very helpful in carving out a new middle in American politics. The problem was his tone, his affect, his showmanship and egotism, whatever you want to call it exactly, undercut that political attempt, and it left him in the strange position of governing a country in which 60 percent of the people in one poll said that they were better off now than they were four years before, and yet 20 percent of those people voted against him.

So he turned out a lot of pro-Trump voters, but he also turned out a lot of anti-Trump voters. He threw away whatever chance he had to be a unifying figure. And if you look at some of the micro-results, he did better among some Black voters and Hispanic voters in various places. So the simple story of Donald Trump the racist cant be entirely true. Despite his personality, or maybe because of his personality, he gave them some hope. Thats why I think it might have been a winnable election for Trump, if he had just been a little less Trump-like in his personality.

This is where you drive me nuts, Charles. Its true that Trump did surprisingly well among some Black and Hispanic voters, and there are some interesting potential reasons for that, but the idea that Trump was ever going to be a unifying figure is just absurd.

Youre smart enough to recognize the nationalist game Trump was playing. You know the appeals he made to white voters were racially tinged, you know he lunged into national politics by embracing the racist birther conspiracy about Obama, but in your book you talk about Make America Great Again as an innocent slogan from a man who just loves his country like a little boy loves his mommy and that it was the PC liberals who got it all wrong.

Look, you can be a nationalist without being a racist, and plenty of non-racist people voted for Trump, but your account of Trumps naive nationalist pitch is charitable to a degree that is frankly hard to believe.

I mean it sincerely. There are parts of Trump that Ive long disassociated myself from, like the birtherism. I wrote a book about Obama back in 2012, and I made a point in the beginning to say that I dont believe this. I never had any tolerance for this stuff. And there are things Trump said and did that were crude and regrettable and I dont want to hear it again.

But he did stand up for the traditional, patriotic civic culture. And he was one of the very few Republican politicians who had really any interest in tackling political correctness, or the eventual toppling of monuments and statues, which I think was very defensible on civic or nationalist grounds. This is part of what made Trump so attractive to a lot of voters.

Theres a lot there, but Im going to circle back to the point I was driving at earlier. I think there are right-wing intellectuals who have concluded that democracy has produced the wrong outcomes (culturally and politically) and therefore they believe it has to be rejected, or at least no longer considered inherently good.

Do you think thats true?

No, I think youre right. I must say, I read more about them than I read of them. Because a lot of them are on the web. If they remain on the fringe, I dont think its an imminent problem. But it could be a long-term problem on the right among a certain kind of disillusioned young male.

Im not talking about alienated 20-somethings posting Pepe the Frog memes. Im talking about conservative intellectuals, people like Michael Anton, whose Flight 93 essay you published. I mean, that essay told readers that the stakes of the 2016 election were literally existential, that they had to charge the cockpit or you die. I suppose you could argue that Anton thinks hes defending the republic there, but I also think hes saying that democracy has veered so far off the tracks that we need to explode it in order to revive it.

I would say in defense of Michael that the only action hes asking a reader to take is to vote for Trump. The metaphor he uses is histrionic, as he himself has admitted. In fact, I think he admitted that in the original piece itself. But it was designed to shake conservative voters out of a certain kind of lethargy that had come over them because of their discontent with Trump and with the whole process that started with 17 candidates and somehow, in the end, boiled down to Donald Trump. He feared apathy on the right, so he countered that with a dynamic and explosive image.

I think telling people to charge the cockpit or die is doing a little more than saying, Just go out and vote, but Ill leave Anton aside. You refer to something called the Weimar problem in your book that seems relevant here. You write: Every republic eventually faces what might be called the Weimar problem. Has the national culture, popular and elite, deteriorated so much that the virtues necessary to sustain republican government are no longer viable? You hedge on this, but honestly, do you think this is basically where we are?

No, but I do fear thats where were headed. Its a more comprehensive list than I gave there. It would also include doubt about the goodness of the republic. And the grounds of the goodness of the republic is a major part of our ambivalence. Its a major part of our moral and psychological disarray right now.

But its also economic dislocations and what has happened to the middle class and to the working class in America. I dont think any of that is irrecoverable, though. And I think we can do better. But I do think that, yeah, in some ways, I fear were hollowing out the republic. You have two adamant parties that increasingly deplore each other, and which of these parties has the time to take up the banner of the original republic? Which party cares about individual rights, about natural rights, about limited government, about a whole set of constitutional ideas that we were once so proud of but which figure only at the margins of our constitutional and political arguments?

Theres some both-sidesism in that answer, but you clearly think the progressive left is the driving force of decay, right?

I do lay a fair amount of blame at the feet of progressives, thats true. I think progressivism imported a whole new conception of political science and human nature, and really a new conception of the purpose of politics, which has turned government into a rights-creation industry. Were not in politics to defend our natural rights, or our God-given moral dignity, or whatever you want to call it. Were in politics to create rights. And the only rights we ever have are those that we humans create for one another.

Now, there are worse ways of looking at politics than that, to be sure. But I think its very demoralizing for a democracy. Although it tries to avoid this, it still undermines the restraint on human will in politics. It opens the vista of very great creativity in the making of rights, which can also mean the unmaking of rights, which can also be done very creatively. And it removes any authority above our will from rights, from the democratic process, from the safety and happiness of the people, all of these notions which were close to the heart of what I call the founders Constitution.

I try to be fair to the progressives in each of their versions as they make history in the 20th century. Theyre really out to save America, as they understand it, from the burden of an antiquated Constitution and the inefficiencies of the machinery of the Constitution, but also what they regard as the immorality of the ideas behind the machinery. I think they sincerely believe that. And they did accomplish some good things in the 20th century, but I think the reasons they give for what they do tend to undermine the goodness of those accomplishments.

This is one place where we just have a philosophical disagreement, because whatever one thinks of God, I do believe that rights only exist because human beings have decided they should, and because weve agreed to continually reaffirm them. But this is a point we cant argue here. Most of your ire in the book is directed at the woke left and what you call its abandonment of truth-seeking. Is relativism really a bigger problem on the left today than it is on the right?

Thats a good question. I think its more of a problem on the left. You could say many of the moral revolutionaries on the left, whether on the gender front or the anti-racist front, a lot of that does seem to be wrapped up with the notion of anti-foundationalism, or the idea that theres no foundation for any of our concepts other than human will. That tendency is more advanced on the left than on the right.

Im not here to defend everything that falls under the banner of wokeness, and Ive been pretty open about my issues with a lot of it, but your book is conspicuously uninterested in the post-truth politics on the right. I mean, the vast majority of the Republican Party believes the 2020 election was fraudulent, a claim without any basis in fact whatsoever.

Does that kind of epistemological pluralism bother you as much as some of the stuff youre seeing on the left?

No, it does concern me, and in the winter issue of the Claremont Review of Books, I ran three pieces that were critical of the hypothesis that the election had been stolen. I think its much more likely the election was won fair and square, or more or less fair and square with some cheating, but not the whole thing being stolen by Joe Biden. I think any political scientist would have to read the evidence that way.

Now, at the same time, there are complicating factors here. One is that the battle over the election came at the end of a series of battles about the truth of things like Russian collusion or Ukrainian intervention. After two or three years of every establishment organ assuring us that there was no doubt that the guy was guilty, it turns out he wasnt. So I think that contributed to the plausibility of Trumps story that this was the latest deception in a series of deceptions.

Okay, thats fine, and while I think thats a simplistic account of the Russia story, Ill avoid debating it and instead push on my previous point a little more. Were not in this situation merely because the left or because the media overplayed its hands on Russia, though Id concede thats part of the story.

A lot of conservatives believe these lies because right-wing commentators and politicians and intellectuals have cynically indulged them. I just heard your colleague Michael Anton on Andrew Sullivans podcast playing this exact game. He wont say outright that the election was stolen, but when pressed for evidence, he says hes just practicing epistemological humility. I mean, come on!

This is why I think people in your camp, sometimes called West Coast Straussians, are doing something very deliberate. One of the ideas of Strauss is that the philosopher, especially in times of crisis, may have to be a little deceptive, or tell lies in service of some higher goal, like saving the republic.

Honestly, is that part of whats going on here?

No, not at all. I would consider intentional deception about the election an especially despicable use of the noble lie excuse. As I say, I think that Trump lost. Ive published two essays on that very question, and my own, in the last issue, which more or less assumed the truth of that. I think Trump won a close election in 2016, and he lost a fairly close election in 2020. And theres nothing that really ought to be surprising about that.

But its true that Trump took advantage of what might have been, among reasonable people, some doubt about particular elections, and blew it up into a whole theory, a whole excuse, for losing the election. That is regrettable, and it is damaging.

Youre very careful in the book to say we havent reached the point of no return, so Ill ask you here: Wheres that line? And what happens when we cross it?

Its hard to say exactly. But it could be the result of a Supreme Court decision that a majority of the states refuse to enforce. It could be an abortion ruling or a guns ruling. But it could be sufficiently polarizing that people essentially say, I dont want to be in the same community with the people on the other side of this issue. And that would start by saying, Were not going to allow federal marshals to enforce the law in our state. But of course, for reasons that are familiar in history, that can escalate into something much bigger than anyone anticipated. I dont think that is necessarily going to happen, and, of course, Im hopeful that it doesnt happen.

But thats a mechanical answer to your question. I think a more philosophical answer would be that weve crossed that line when its clear that we really dont understand All men are created equal in the same way, or when we understand it in incompatible and even mutually impossible ways. If that happens, weve reached the limits of moral community, which helped to set the limits of political community. And thats when you have a real problem.

Read the rest here:
Charles Kesler, author of Crisis of the Two Constitutions, on the case for Trump - Vox.com