By David Eaton
Does the “Culture War” actually exist or is it purely a myth?
In the aftermath of the 2004 presidential election, Morris P. Fiorina of the Hoover Institution published Culture War? The Myth of a Polarized America, in which he contends the idea of America being a “deeply divided” nation is specious.
Offering copious data, he claims a high percentage of Americans possess moderate viewpoints regarding social issues and politics, and we are not as “deeply divided” as those on the fringes of the political spectrum (or the news media) would have us believe.
Yet, the divisiveness that has become so pervasive in our culture indicates that our country is, in fact, highly polarized.
According to Fiorina, these fringe elements tend to confer with coteries who reinforce their particular perspectives and do not represent the large, moderate and politically ambivalent demographic that seeks pragmatic solutions to problems.
This is a countervailing argument to that of Pat Buchanan who has long held America is under siege due to the encroachment of non-traditional religious (or contra-religious) influences and not-so-well intentioned multiculturalists who see little or no value in the Western tradition. For Buchanan, nothing less than the soul of America is at stake.
Fiorina admits, perhaps unwittingly, that there is something to Buchanan’s claim when he states:
“The culture war metaphor refers to a displacement of the classic economic conflicts that animated twentieth-century politics in the advanced democracies by newly emergent moral and cultural ones. Even mainstream media commentators saw a “national fissure” that “remains deep and wide,” and “Two Nations under God.”… [M]any contemporary observers of American politics believe that old disagreements about economics now pale in comparison to new divisions based on sexuality, morality and religion, divisions so deep as to justify fears of violence and talk of war in describing them.”
By Kathy Winings
Is it possible to go too far with our digital technologies? Is total transparency a good thing? If the majority of people in the world were digitally connected and our lives were out in the open, could we have a better, safer world? Are people ready to live in a totally transparent, digital world?
The new film, “The Circle,” attempts to answer these questions. “The Circle” focuses on a young woman, Mae Holland (Emma Watson), who lands an entry-level job in customer service at the Circle, a massive, powerful tech conglomerate, through a good friend who works in the company. Imagine Google, Facebook and Amazon all rolled into one company. That’s the Circle.
Eamon Bailey (Tom Hanks), CEO and co-founder of the Circle, is an energetic and charismatic leader who appeals to the idealism of his employees — all of whom seem to be under the age of 35. With the personality of a Steve Jobs/Mark Zuckerberg, Bailey and his COO and co-founder, Tom Stenton (Patton Oswalt), emphasize transparency and accountability with each new digital breakthrough they unveil. Much like the practice in today’s big tech firms, there is a regular company-wide gathering in which the new innovative breakthrough of the day is showcased and employees can cheer and marvel as their company pushes the boundaries of technology without questioning it.
Mae is drawn deeper and deeper into the Circle. Bailey is good at coming up with catchy names and phrases and selling the new tech innovations through personal stories that touch the emotions and ignite the idealism of his employees – most especially Mae. In her first week on the job, she is introduced to a webcam the size of a marble that is heralded as a means to a totally transparent world where no one can get away with discrimination, human rights abuses or crime, dubbed “SeeChange.” Bailey’s catchphrase is, “Knowing is good but knowing everything is better.”
Shortly after the launch of SeeChange, a U.S. senator trying to open an investigation against Bailey is forced out of office due to seemingly questionable actions unearthed by Circle technology operating under the guise of transparency. Mae and her colleagues see this as a reason to celebrate their company’s role in making a change for the better.
By David Eaton
While attending the 6th World Media Conference in 1983 in Cartagena, Colombia, I had the opportunity with several other musicians to meet with UTS founders, Reverend and Mrs. Sun Myung Moon. In the gathering, Rev. Moon expressed interest in the creative process pertaining to musical composition. He encouraged us to study and master the classical tradition, calling it “the foundation” upon which we could carry out our creative endeavors. He then suggested we combine the best elements of other genres — Rock, Jazz, Gospel, Folk — with the classical tradition in an attempt to create “New Age Music.”
In recollecting that meeting, I came to realize that in many ways American music was something akin to what Rev. Moon alluded to. Owing to America’s immigrant nation heritage, American music is a rich amalgam of highly varied styles and influences that arrived from many places. In a very real way American music is “World Music.”
When the Pilgrims landed in 1620 they not only brought their faith tradition, but also the music that accompanied it. Some of the earliest musical expressions of colonial America were Christian hymns sung in churches and schools utilizing the technique known as “shape-note” singing. Many of these were eventually published in 1835 in the hymnal known as Southern Harmony, including the “Garden Hymn,” a song known to Unificationists as “Song of the Garden.”
Eighteenth century Appalachian folk music was also indicative of the cross-fertilization highly evident in most American music. Immigrants from Scotland, Wales, England, and Ireland brought their ballads, jigs, reels — and their instruments — with them, and these musical influences found their way across the land.
Gospel Music also had religious roots. The “call-and-response” mode of music-making dates back to the early 1600s. As it evolved from 17th century Negro Spirituals and field hollers, it was the Christian revival movement and Holiness-Pentecostal movement of the late 19th century that spawned this new genre. Gospel historian Robert Darden noted the first published use of the term “Gospel” to describe this music style was in 1874 when Philip P. Bliss edited a revival songbook titled Gospel Songs for use in evangelical meetings and revivals.
By Ronald Brown
Of all the parts of creation that God gave us dominion over, time continues to remain the most elusive.
A calendar is one of the universal building blocks of all religions. For any new religion to succeed or ancient religion to endure it must prove its ability to have dominion over time. The prospect of an endless and meaningless succession of days, years, and centuries, is unsupportable for human beings, to say nothing of religious communities. Calendars are like maps placing an individual and a community firmly in a flow of time that began with the Creation and will end with the Millennium.
In late December and January, during my academic break, I traveled to Thailand. What could have been a pleasant month of travel, beach, wine, dancing, food, and fun turned into a research-filled period. My research was stimulated on the first day in Bangkok when the man at the front desk prepared the receipt for my $7 a night room.
The Confused Calendar of Thailand
He took out his book of receipts, filled in the sum in Thai Baht, misspelled my name, stamped it, and handed it to me. I stuffed it into my pocket and went to my room where I crashed on my hard bed and slept the entire day. It was only later that evening as I was writing my daily journal entry that I glanced at the receipt. I took out glue stick, covered the back of the receipt with glue and attached it to the page. Only then did I notice that he had miswritten the date: the month “12” and day “30” were correct, but in place of 2016 he had simply written “60.” I thought he had simply made a mistake and wrote “60” instead of “16” and thought no more of it. But this strange date stuck in my mind. I had to find out what “60” meant.
The Buddhist Calendar
My second encounter with the wild world of Thai calendars was by accident. Having checked into my hotel, I set off to explore the neighborhood. I strolled up a major road and stopped in the middle of an elegant bridge spanning one of the many canals that crisscrossed the city giving it the name “The Venice of the East.” I glanced at the elegant Thai script that announced I was on the Mahatthai Uthit Bridge and noticed the year of construction was 2457. Puzzled, I checked my handy travel guide and read it was constructed in 1914.
by Kathy Winings
It is not often a reflective and innovative film that is deeply theological comes to the big screen – and is worth our time and attention. But “The Shack” fits this bill nicely. Not unlike “Heaven is for Real,” “The Shack” reminds us we are never alone, that God is always there with us. And what “Heaven is for Real” did for reimagining the spiritual world, “The Shack” does for the holy trinity of Father, Son and Holy Spirit.
The movie tells the heart-wrenching story of Mack Phillips (played by Sam Worthington), a family man who must endure the disappearance and presumed death of his youngest daughter and make sense of a loving God.
The film begins with a brief but critical glimpse of Mack as a young boy who witnesses his abusive yet church-going father beat his mother at the slightest provocation. After Mack confesses to the family pastor about the beatings, his father beats him again, pushing the young boy to take drastic action, which turns into a secret that haunts him throughout his adult life. Mack’s wife, Nan (Radha Mitchell), knows he has a secret eating at him but she cannot convince him to talk about it. Nor can his neighbor, Willie (Tim McGraw), a faithful and God-loving man.
As a loving husband and father, it is clear Mack cannot seem to come to terms with a God who is there for us, loves us and to whom we can turn. After all, why did God allow his father to treat his wife and son so terribly? Would an omnipresent loving God really do that? Because he cannot find answers to his questions about God, he forms an uneasy truce with God. At the same time, he feels his wife’s faith is strong enough for both of them for the time being. What is interesting is his wife’s nickname for God. She calls him “Papa,” with her children following suit.
A catalyzing event occurs one summer when Mack takes his three children camping to their favorite lake while his wife must stay behind. During this fateful trip, his youngest daughter, Missy, suddenly disappears while Mack is focused on saving his other daughter and son who become trapped under their canoe while boating. One moment she is there coloring her pictures and the next minute, she is gone; a parent’s nightmare.
By Kathy Winings
Two recent films, each nominated for an Academy Award for Best Picture, help white America understand the challenges and struggles of black America from different perspectives. On the one hand, “Fences” is a story that shines a light on the challenges and issues faced by black families in the 1950s. On the other hand, in “Hidden Figures,” we have Hollywood telling the amazing story of three immensely talented black women who made invaluable contributions to NASA and the American space program.
August Wilson has been called one of the finest American playwrights of the 20th century. His plays have highlighted and brought to life African Americans in everyday roles dealing with everyday issues including love, struggle, duty, and betrayal. The impetus behind his plays was so white Americans could begin to see African Americans in a different light; see them dealing with the same issues that define life for most whites so that whites just might treat African Americans differently. “Fences” was one of his best-known plays for which he received both a Pulitzer and a Tony award. In 2016, “Fences” came to the big screen directed by Denzel Washington.
“Fences” is the story of Troy Maxson, a sanitation worker in 1950s Pittsburgh. Portrayed passionately by Denzel Washington, Maxson is a bitter man whose dream of becoming a professional baseball player died early on because he was too old by the time Major League Baseball began admitting black players. As a result, after spending time in prison, he now struggles with his own ambitions to find success in his job and as a man needing to feel vibrant and loved. Yet, he looks for this, as the proverbial song says, “in all the wrong places.”
His main support is his long-suffering wife, Rose, played brilliantly by Viola Davis, who won the 2010 Tony for best actress in the role and the 2017 Oscar for Best Supporting Actress for the same role (her Oscar acceptance speech was deeply moving).
By David Eaton
During the post-World War II era the influence of multiculturalism and identity politics in the West became a pervasive and potent force in politics, academia, sociology, and culture. So-called “social justice warriors” (SJWs) have taken activism on a variety of issues — race, gender, ethnicity, sexual preferences — to such extremes that it is near impossible to engage in reasoned debate or discussion without finding oneself mired in invective-laden exchanges drenched in political correctness.
The Stanford Encyclopedia of Philosophy explains that the term “identity politics”
“…has come to signify a wide range of political activity and theorizing founded in the shared experiences of injustice of members of certain social groups. Rather than organizing solely around belief systems, programmatic manifestos, or party affiliation, identity political formations typically aim to secure the political freedom of a specific constituency marginalized within its larger context. Members of that constituency assert or reclaim ways of understanding their distinctiveness that challenge dominant oppressive characterizations, with the goal of greater self-determination.”
There is an emphasis on the need for various social groups to use political means to attain social justice — justice not necessarily based on principle or universal truths, but rather on “political formulations” or an affiliation with a particular political party that will legislate according to a specific set of concerns. Current iterations of multiculturalism and identity politics can be traced to Marxism and the Cold War, particularly the Marxist ideological tenets of the Institute for Social Research at Goethe University in Frankfurt, Germany, known as the Frankfurt School.
As the Industrial Revolution led to the emergence of a substantial upwardly mobile middle class, the issue of economic disparity between rich and poor — a main Marxist premise — began to dissipate, hence the revolutionary urges exploited by earlier Marxist revolutionaries were mitigated.
By Kathy Winings
Those of us of a certain age will never forget what we were doing on that fateful day — November 22, 1963 — when President John F. Kennedy was assassinated by Lee Harvey Oswald.
I certainly remember where I was on that rainy day. I was returning to my fifth grade classroom with my classmates after having attended our weekly religious education class. For the next week, my parents and I followed the television coverage chronicling the events leading up to President Kennedy’s burial at Arlington National Cemetery.
The assassination of JFK will remain one of those iconic moments in American history. All of these memories came back to me while watching “Jackie,” a new film starring Natalie Portman as Jacqueline Kennedy and directed by Pablo Larrain.
“Jackie” allows us to get a glimpse of what Jacqueline Kennedy may have been like those first few days after her husband’s death. She tells her story through the lens of journalist Theodore H. White’s interview in Life magazine conducted with the former First Lady shortly after she moved out of the White House.
White had been contacted by Mrs. Kennedy to write her story because of what she believed were unflattering and hurtful news stories written about her immediately after the assassination. The guarded and intensely private woman that the American public saw is juxtaposed with a picture of a very real, very human woman who had just experienced a brutal and violent end to her larger-than-life husband.
Throughout the film, Jackie struggles with finding meaning in what she witnessed while also needing to redefine not only her husband’s legacy but also who she is now that she is no longer First Lady. As she goes about arranging her husband’s funeral while also going through their living quarters at the White House in preparation for moving out, Portman shows a woman on an emotional roller coaster, unable to find her emotional rudder — chain smoking and drinking as a way to cope late at night when no one can see.
By Kathy Winings
The death of a child is probably the most devastating experience a parent can go through. This is made all the more devastating when the child is very young and has just begun to spread his or her wings.
This is the experience of Howard Inlet (Will Smith) in the new film “Collateral Beauty.” Howard’s whole life has been turned upside down with the death of his six-year old daughter. Unable to deal with her death, Inlet, once the creative force behind a successful New York advertising agency, withdraws completely from life. Over the year following her death, he only comes to the office to create massive and intricate domino-like designs that he proceeds to topple once the masterpiece is complete. He retreats so far into his grief that he does not eat or sleep, does not communicate with his business partners and friends, sits alone in a dark apartment, and cycles recklessly through the city day in and day out.
During one of his daily cycling rides, Howard appears to stumble on a support group for parents who have lost a child. He finds himself periodically sitting in on their meetings only to leave if asked to share about his experience. Over time, he begins conversing with the group’s director (Naomie Harris) who also lost a child, a six-year old daughter, to cancer. It is during one of their conversations that she shares a concept that helped get her through her grief. This concept is the phrase “collateral beauty.” As she describes it, collateral beauty is recognizing the possibilities of meaning and beauty that are all around us even in the midst of death and pain. But Inlet cannot move past the pain of his loss and cannot or will not acknowledge what happened to his daughter.
Trying to salvage a now-suffering business and also wanting to reach out to their friend, Howard’s business partners Claire (Kate Winslet), Whit (Edward Norton) and Simon (Michael Peña) take the drastic step of hiring a private detective to follow Howard in the hope of obtaining evidence that can be used to force him to turn over his controlling stock in the agency.