If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him ~ John F. Kennedy
Now, if we are to take what Jack Kennedy said regarding culture as the truism that it was intended to be, we must examine the output of creative expression in America since 1963 when Democrats began actively discussing the funding of federal programs to support the arts. We must honestly ask ourselves "Are artists really free thinking in the year 2013 or are they conditioned and, in their conditioning process, are they being trained to nourish the roots of progressivism with oddly religious devotion?"
You see, it would seem that our nation's political, economic, educational and spiritual declines all have one thing in common. The origin of American regression can be found within our cultural expressions. When culture suffers decline, society is surely suffering in the same way because culture is nothing more than learned behaviors that are indicative of the members of a society. American decline begins with our national mood with regard to the arts. Our willingness to accept mediocrity because it has been rebadged under the moniker of "modernism" speaks volumes to how we as a society have lapsed into entropy.
The thing with art – be it music, design, film, writing…what have you – is that when all creative expression originates from the same germ of an idea, the culture grows stale. Don't get me wrong. This happens from time to time in the best of circumstances. There are trends…movements which explode and run hot because one original creative outburst inspires mimicry. Rival artists may take a great idea and develop it right into the ground but eventually consumers and the artists themselves get bored and look for some new philosophy to exploit for its artistic value. Competition allows for a variety of muses. The free market allows for a variety of patrons to pick and choose the culture they prefer.
And it used to be that artists relied heavily on private citizens as patrons of the arts who would then provide their money and influence to discover talent as a way of pushing the culture forward. While that is certainly still the case in a very hermetically sealed, crony capitalist sense, artists – with alarming frequency – are groomed by universities that are funded by the federal government and are offered grants from the NEA to develop their skills free from the supposed corporate greed that might require a marketable output. (The NEA, by the way, came to us under the Lyndon B. Johnson Administration…please think "Great Society" whenever you are told of an LBJ social program and then think "Detroit" which was Johnson's Model City before you start dancing in delight for LBJ's compassionate consideration.)
The hypothesis behind federal support for artists is that this removes them from any market pressure that might influence their work. Academically speaking, this brings a vibrancy of thought into creative circles because people who would never have had their work noticed theoretically have an equal opportunity to…emote. This is supposed to produce a sort of everlasting Renaissance or some such nonsense. But – as with so many of government's big ideas that look great on paper – that hasn't been the effect of government sponsored artistry because artists learn quickly that there is but one patron of the arts with one preference for artistic output. That patron is Uncle Sam and "his" one point of view must be made happy if artists are to continue receiving a paycheck. Universities that enjoy federal grants and funding thrill in producing students of a particular political mindset that supports the liberal agenda because that supports their benefactor who, in turn, sends more funding. Little surprise there. To a hammer, the world looks like a nail. To a liberal being funded by liberal government programs, creative students are uniformly liberal. Why is the MSM progressive? Because it has been groomed to be such.
"This is the big lie," says Lisa Mei Norton – Co-founder and CEO of Big Dawg Music Mafia. Lisa knows this from personal experience. She is a conservative entrepreneur who works tirelessly in support of conservative/libertarian artists while motivating her family to be strong individuals and great Americans. She is unabashedly pro-God and pro-America. Having served in the military, she learned firsthand that American culture is something worth fighting for and proves every day that conservative/libertarian artists can flourish if they are given a platform that is free from the arrogant derision of liberal elitists. Big Dawg is not only a central hub that allows consumers to access conservative and libertarian artists, it provides a safe haven for burgeoning artists, writers and film makers who might otherwise feel intimidated about putting their work out there for the world to see and hear.
"The Left specializes in silencing people through ridicule and their tactic really works. A lot of conservatives – especially younger conservatives – are hesitant to put their music out on YouTube or Facebook because they know they will be attacked. There are people who are actually paid to troll social media sites in order to attack conservatives and libertarians and this has a chilling effect on the culture. The idea that conservatives and libertarians aren't creative? That is a lie but it's a lie that's been incredibly effective."
And here we realize the irony of the Left's monopoly over American culture. For all the control that progressives have had over American values throughout the last half century, their perceived superiority has promoted little more than artistic inertia and decay. Notice, for instance, that the popular music, which has historically been accessible to the middleclass and has traditionally offered a wealth of sound and motif, has an air of stagnancy about it now. With rare exceptions, harmonies and melodies are as predictable as those go-to rhyme schemes that continue to underestimate the intelligence of listeners.
The term "modernist" hardly does the contemporary era justice. There's an endless refrain of sex without love, derision of temperance, isolation and disconnection, contempt for traditional values. Like all brain candy, these themes are interesting to explore within the whole and complete cosmos of ideas. Without anything to act in balance to the experimental, these themes become an over-processed pabulum of debauchery and gauche because decadence is the entire menu of philosophical diversity offered to consumers.
Thanks to entrepreneurs like Lisa Mei Norton, that is starting to change. Lisa stated for the record that there has been a critique regarding the content of her Big Dawg site because it features a smattering of political musicians and artists. Her detractors complain that no one wants to hear songs about America, but Lisa says, "Hold on. Some people do want to hear patriotic themes, but that's not the only music that's available for review. If you want to hear rock 'n roll, we have that. If you want to hear hip hop, we have that too. But the subject matter of those songs invariably inspires rather than deconstructs. The artists don't follow the same old anti-God, anti-woman, anti-America themes that Hollywood mass produces and force feeds your kids."
Sidenote - The idea that anti-God, anti-woman, anti-America isn't politically motivated is a little farfetched anyway, but since the Left gets to define political versus organic cultural expression, I guess that's a discussion for another day.
The most important point is that conservative/libertarian artists are at last invited to participate in cultural expression. The platform that Big Dawg Music Mafia offers is free and delivers a friendly venue where artists will not be attacked by trolls. Lisa wants to show those more traditional leaning patrons of the arts that there is a plethora of untapped talent out there living within artists who coincidently love America the way it was founded.
"We're demonstrating to would-be conservative/libertarian investors that maybe they should start investing in studios. Maybe they should invest in record labels. Maybe they should be buying radio stations so that this kind of content can be given the attention it deserves. Andrew Breitbart, may he rest in peace, tried to explain the importance of conservative and libertarian participation in our culture. In some ways he was extremely successful. He made people understand that the mainstream media was nothing but talking heads for the progressive agenda. He found it more challenging in advising conservatives and libertarians on how crucial art and music and film and blogging are toward changing the way people vote. The Left knows this and they successfully use the 'popular front' strategy to keep themselves in power."
It would seem that Lisa Mei Norton did heed Breitbart's warning. Big Dawg Music Mafia exists as a testament to the "Big" dreams that he had for changing American culture. In provoking dialog about the art, music and film industries, Lisa not only helps to break the Left's monopoly on culture, she forces individuals to redefine what it means to be a modern feminist in our society.
We will continue to pursue the theme of conservative feminism over the next few posts. Please look for my interview with Nikki Turpeaux who is the owner and lead instructor of Archangel Tactical LLC and an expert on firearms and personal defense.