– from Zoltan Zigedy is available at:
http://zzs-blg.blogspot.com/

e-mail: zoltanzigedy@gmail.com

One can too easily blame capitalism for debasing the culture and intellectual life of the US. The profit motive has surely placed commercial success ahead of artistic merit. Independent purveyors of art and ideas have been either co opted and absorbed by monopoly corporations or ground to a pulp attempting to compete with corporate-sponsored rivals. Culture has become corporate culture, despite the democratizing relief sometimes offered by the Internet.

From producer to consumer, arts and entertainment corporations are the ever-present intermediaries for successful production and realization of cultural commodities. Their goal is profit and not artistic merit.

Similarly, the humanities have been marginalized through the marketization of higher education. The ever present mantra of “running everything like a business” has deeply infected the process of learning, thus sending philosophy, political studies, literature, history and other humanities to the dustbin. That which cannot pay its way deserves no place in the university, say administrators wedded to best business practices. Consequently, the appreciation for and vibrant generation of the humanities is stunted by the dominance of the “practicality” of the sciences and business. Higher learning becomes learning for a purpose, namely, getting ahead.

But the arts and independent thought are threatened by other factors as well. While even those friendly to capitalism will give a reluctant acknowledgment of the economic factors that diminish culture and humanistic pursuits, few accept the significant role of politics in stunting culture and learning. Of course many will readily agree that right wing zealots chip away politically at the liberal values that are believed to be the foundation for cultural and intellectual enrichment. They will eagerly concede that pornography police and music censors retard the free flow of ideas. But they, nonetheless, celebrate the US democratic spirit that continues to nourish the spring of cultural production and intellectual innovation.

Accordingly, they forget, or purposely overlook, the insidious role of Cold War repression that befell intellectual and cultural life in the US from the late 1940s through the early 1960s, with loud echoes today. For nearly a decade and a half, intellectual conformity on class, race, and Communism was rigorously enforced through punishment or fear, especially in the sensitive areas of culture and ideas (the battle of ideas is not merely in academia or among the men and women of letters but in the unions and mass organizations, where a vibrant incubation of radical ideas was replaced with a tepid, mediocre, and intolerant uniformity). Thousands of cultural and intellectual workers lost their jobs, were shunned, or blacklisted. Tens of thousands were frozen with fear and determined to assiduously avoid anything controversial.

Artists and intellectuals grew timid: ironically, some of the best popular cinema of the otherwise mediocre era was offered by ex-Communists who had made their mea culpas and thus earned the right to tackle edgy themes (for example, A Face in the Crowd (Kazan), Sweet Smell of Success, and The Big Knife (Odets). The best of television, a then-new medium seemingly happy to wallow in mediocrity, came from deeply covert writers who had been expelled from Hollywood. When vibrant African American music in the form of a subversive Rhythm and Blues stood to crack the cultural barriers, US entertainment corporations co-opted and whitened the music while transforming it into mildly titillating Rock and Roll (RCA and Elvis Presley), a safer alternative.

The false radicalism of Abstract Expressionism was promoted by a deeply conservative coterie of wealthy art impresarios intent upon overshadowing any subversive messages borne by representational art (see How New York Stole the Idea of Modern Art, Guilbaut). And mildly mocking satire of upper-middle-class and suburban mores a la New Yorker magazine became the gold standard of popular literature.

Youth rebellion, thought to be a biological imperative, found expression in the middle-class angst of the “beat” generation or through revisiting frontier toughness through the cult of the motorcycle. “Alienation” replaced “exploitation” as the theme of critiques of industrial society…..
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