David French & GenX Parenting

Columnist David French poses an interesting and important question in his recent New York Times column:  "How Did the Latchkey Kids of Gen X Become the Helicopter Parents of Gen Z?"

It's not unreasonable to suggest that parents of a certain age should be a bit less obsessive about micromanaging every detail of their children's lives. And, to be clear, the current generation of parents did not invent the idea of helicoptering in the child rearing game. That's reserved for the Baby Boomers who coddled their Millennial offspring to ridiculous and unprecedented degrees. Subsequently, anyone with much experience with the youngest of young people these days might suspect that the Boomers' parenting was not particularly effective in that Millennials are specifically bad at the parenting game. 

Granted, all this talk of generational trends and inclinations is obviously greatly overgeneralized. There are effective and ... pathetic parents at all ages in all eras. I wrote about GenX and the parenting game five years ago, though I had a different view than French. In fact, my piece suggests that "GenX Parenting" is the opposite of helicopter parenting. Of course, that view also implies that the very concept of "Generation X," at least in the manner that sociologist Paul Fussel and writer Douglas Coupland used it, is more about an attitude and lifestyle choice as opposed to an age range.

Gen X parents don’t hover, they don’t helicopter, and they certainly don’t snowplow. However, they are neither aloof nor disengaged. Generational writer and sociologist Neil Howe has termed Gen X parents “Stealth Fighter Parents.” They are aware and involved in the lives of their children, choosing where and when and how much. If an issue “seems below their threshold of importance,” they will let it go, “saving their energy” and probably their nerves. But if the situation “shows up on their radar … they will strike, rapidly and in force, and often without warning.” The target might be their kids’ friends or their teachers or a neighbor, or most likely the kids themselves. Gen Xers are post-9/11 “security moms” and hands-on dads. And our kids, the neXt generation, share our pragmatic, somewhat jaded, and pessimistic view of society while also being rather attentive to themselves, like Xers who had to be while we let ourselves in to the houses after school and fixed our own snacks while waiting for our parents to get home. They are woke, and to borrow from David Bowie (and John Hughes) “quite aware of what they’re going through.” That’s the scoop on Gen Z, a derivative nickname for Xer’s kids, who are out, open, authentic, transparent, and inclined to change the world themselves rather than wait for their elders.

Labor Day -- New Year's in the Fall

It's Labor Day, or what some of us like to call "New Year's in the Fall." 

Any day is a new opportunity for reinvention and a fresh start. And, this year seems kind of apropos with Labor Day falling on September 1, and the first of the month also falling on a Monday.

Here's a reflection from September of '22 about the idea of reinvention and new year's and "spring" cleaning and making a fresh start to, as Thoreau said, "advancing confidently in the direction of your dreams and endeavoring to live the life you have imagined."

Write the Power, No. 2 -- The Voice of Freedom

 I recently finished a second piece in the Write the Power series. This version with Frederick Douglas, Malcolm X, James Baldwin, Sojourner Truth, and Public Enemy is actually the first idea I had envisioned for the theme. This one is subtitled "The Voice of Freedom" -- mixed media collage on canvas with acrylic and paint pen. I like the way the script worked out on this one, just playing around with letters.

 

Punk Rock and Beyond

Henry Thoreau's essays, Walt Whitman's poems, and Huckleberry Finn's narrative are all proto-punk -- precursors to punk rock, punk philosophy, and punk culture. In fact, when Huck declares, "All right, then, I'll go to Hell," he utters one of the most punk rock lines in all of American literature. 

That thinking, of course, requires understanding punk beyond the stereotypes of spiked hair, mosh pits, and ferocious three-chord downstrokes. Moving punk beyond the music has been asserted and explored by musicians, artists, writers, critics, and scholars almost since its inception. From Greil Marcus' Lipstick Traces to Craig O'Hara's Philosophy of Punk to Greg Graffin's "Punk Manifesto," punk is as much about attitude and intent as it is about volume and pace in music.

Moving punk "beyond the music" is at the heart of the new book Punk Beyond the Music: Tracing Mutations and Manifestations of the Punk Virus from long-time punk and American culture scholar Iain Ellis of the University of Kansas. Ellis' knowledge and scholarship is vast, and the work is informative while also being immediately accessible for readers of all familiarity, or no familiarity, with punk.

Not the Summer of George

If you're a Seinfeld fan, you likely remember the episode where George received a severance package from one job in late spring and has a new job that doesn't begin until early fall. He has the entire summer off, which he declares "The Summer of George," making plans to do all the things he never has time to do. He says, "I might read a book." Instead, he purchases a Lazy Boy recliner with a built-in fridge and proceeds to waste away the summer watching television (ultimately atrophying his body so much that when he falls, he spends the rest of the time in traction -- "It was supposed to be the Summer of George!")

As educators who have always had summers off, my wife and I often joke about the Summer of George when we make plans. We ironically use the phrase because we actually do quite a bit, even as we do enjoy the time off and the much-appreciated relaxation. This summer was truly the intended "Summer of George," and I've been meaning to post about the highlights. While I've been working a lot this summer on the Walden Punk Project, there were many great adventures.

We began the summer with a week in St. Maarten, staying on the Dutch Side at the Divy Little Bay Beach Resort near the port of Philipsburg. While Aruba is our happy place, we decided to branch out a bit, and with St. Maarten, we were not disappointed. The best part of Divy is the beautiful half-moon bay that provides for excellent swimming and snorkling. More on that later. 

Following a week on the island, we returned to the Washington, DC, metro area and did some exploring around the Chesapeake Bay region. With our daughter in college and close family in DC, and our son just up the coast in New York City, we are planning a move to the East Coast, and we took advantage of the time to scout out potential areas to move. We hit Baltimore, Wilmington, Philly, the Eastern shore towns of Chestertown and Easton, and finished up in Annapolis. It was all delightful, with Baltimore and Annapolis winning our hearts.

We also spent about a week in Boston, while I attended the Annual Gathering of the Thoreau Society out in Concord, and we rounded out the summer with a week in Paris. The primary reason of the Paris trip was a trip to the Louis Vuitton Foundation for a once in a lifetime art event -- the career retrospective on David Hockney, featuring more than 400 of his works gathered from museums and private collections around the world. It was a sublime art experience, and as an added bonus, we just happened to being staying in the Montmartre neighborhood where the final stage of the Tour de France came through.

It was all and all a wonderful "Summer of George."

Write the Power - Thoreau Society Annual Gathering

 

In the essay “In Wildness is Thoreau,” scholar Lewis Leary calls Thoreau “... a revolutionary of absolute faith … who started a one-man revolution, which has overturned worlds – not through what he did, but through what he wrote.”

That’s the spirit of my piece “Write the Power, No. 1 – Thoreau,” a mixed media collage which began serendipitously as I sat on the couch listening to music while reading, writing, and researching my idea to synthesize the worlds of Henry Thoreau and punk rock. The phrase “write the power,” stems from the 1980’s Public Enemy hip hop anthem “Fight the Power,” and I envisioned a power salute fist holding a pencil. Both punk rock and hip hop can be considered cultural and political revolutions of a sort, and a cultural revolutionary is a lens through which I see Thoreau.

Pondering that image of the fist and pencil, I imagined a series of mixed media pieces featuring revolutionary writers, artists, and musicians, celebrating the power of language and the written word. I even imagined variations such as a fist throwing a punch or flipping the middle finger, as I envisioned different writers and artists ranging from Frederick Douglas and Mark Twain to Chuck D of Public Enemy and Joe Strummer of The Clash. But I started with Henry Thoreau who was a true revolutionary, as significant, in my opinion, as any Founding Father, in his questioning and criticism of America in the early 19th century for failing to live up to the promise of its premise.

Scholars Laura Dassow (Dah-soh) Walls and Bob Pepperman Taylor emphasize how Thoreau’s work intentionally challenged America in relation to the ideals of its revolution. Revolution is also fundamental to my Thoreau-Punk alignment for both the man and the movement are grounded in what Walls describes as Thoreau’s belief that “The American Revolution was incomplete: inequality was rife, materialism was rampant, and the American economy was entirely dependent on slavery” [and injustice]. Walls says Thoreau’s “dilemma [was] how to live the American Revolution not as dead history, but as a living experience that could overturn hidebound conventions and comfortable habits.” Bob Pepperman Taylor echoes this idea in his book America’s Bachelor Uncle asserting “No writer has more powerfully portrayed the American betrayal of its own commitment to individual liberty.”

Thoreau was indeed a revolutionary with a pencil – and interestingly he also was a revolutionary pencil maker. His personal innovations literally changed the industry and made “Thoreau & Son” pencils the premier American pencil. That idea is behind my image of the pencil, and the phrase “The Power of the Pencil” is written in a style mimicking Thoreau’s more legible script. The pencil covering Thoreau’s mouth clearly draws attention to his face but also symbolizes that Thoureau did his talking on the page. Granted, at his time, his many essays were delivered at the Lyceums. But the written word enables them to live on long past the night of the performance.

The collage style for this piece and for the planned series blends text and images, emphasizing the power of words. With Thoreau in regards to this year’s theme, collage can reflect both the messiness of revolution and of art while also presenting a mosaic of the complex ideas behind Thoreau’s words, their impact, and his legacy. Graffiti style text is intended to invoke a punk rock spirit, a renegade art form. The power salute fist clutching a pencil resembles a classic tag, and of course, it is a revolutionary symbol used by many protest movements. You’ll also notice in gold paint pen various scribbles mirroring Thoreau’s looser handwriting style, which I display with several versions of his original text, the lower left being the most freeform example.

Background images making up the collage include the cover of the original edition of Walden over which I placed the fist, and the cover of the play The Night Thoreau Spent in Jail by Jerome Lawrence and Robert Lee. Published at the time of the Vietnam War and subsequent protests, it’s reflective of the revolutionary spirit behind Thourea’s protest and subsequent essay known as “Civil Disobedience.” In the upper right corner I have an image of another of my Thoreau artworks which is the minimalist “Portrait of Henry David Thoreau” by Swiss/French artist Felix Vallotton over two Thoreau selections, “Walking” and “Civil Disobedience.”

The cabin in the bottom right is obviously an iconic image associated with Thoreau, and the simple act of building the cabin and living there was a revolutionary act, as Laura Dassow Walls notes in her exceptional biography, Thoreau: A Life. The cabin truly unsettled the people of Concord. I’d describe it as a punk move precisely because it agitated others and disrupted the status quo. I also included an image of the sign and quote at the original cabin site.

Thoreau was determined to be a writer, and he honestly hoped to change the world with his words. Writing is power, and we all remember the origin story of Thoreau’s epic two million word journal – Emerson asked if he kept a journal and he wrote “So, I start today.” In my research I’ve pulled countless quotes which evoke to me Thoreau’s revolutionary punk rock spirit, and I incorporated them in the piece as banners and slogans, and more are painted around the outside edge of the piece.

So, with all that, I give you “Write the Power”

Thoreau, Punk, & the Art of Nonconformity

Both Punk Rock and Henry David Thoreau are grounded in the simple act of nonconformity. Walden, a Life in the Woods is at its heart and in its central thesis an exercise in nonconformity. It truly was meant to be and remains a guidebook for nonconformists. The same is obviously true for the subculture, nay culture, that sprang up around and because of punk rock.

Mike Royko and the Art of the Column

Just a thought: Mike Royko is one of America's greatest writers. Like, definitively a Top 10 artisan of the craft across the board, with no regard to ranking based on genre.

I grew up the son of a newspaper feature writer and editor, and I had the benefit of three newspapers in my house everyday -- The St. Louis Post Dispatch, The St. Louis Globe Democrat, and The Alton Telegraph. And from an early age I learned to appreciate, value, even love the art of commentary and the daily newspaper column. From Erma Bombeck to George Will, I gleaned so much knowledge and insight about the world through their deft knack for language and the concise medium of "the column." And I'd probably rank my favorite columnist of all time this way:  Mike Royko, George Will, David Brooks, Bill McClellan, and Erma Bombeck.

But my highest respect, admiration, and praise goes to the gritty Chicago voice of Royko. 

Write the Power -- Thoreau

In addition to the writing I have been doing with Thoreau and Punk, I have also been working on some Thoreauvian-Punk-inspired artwork. This piece -- "Write the Power, No. 1 - Thoreau" -- has been accepted to the first ever Thoreau Art Show for the Thoreau Society's Annual Gathering in Concord, MA on July 9-12. This year's conference, Thoreau's Revolutions, included a call for art to be be featured in a exhibition which "will focus on Thoreau’s revolutionary ideas as well as personal reflections on revolution in the context of his life and work."

Coincidentally, I had recently produced several pieces of Thoreau-inspired art for another artists call, and so I took a chance and entered this show. While I have long intended to attend the Thoreau Society Annual Gathering, I did not expect to go this year. In fact, I hoped to go once I finished my work and could potentially present at the conference. Alas, I will be able to "present," for the conference has scheduled an artists' talk for the show on the morning of July 11, and I will be speaking about this work and my ideas regarding Thoreau and revolution. My artist's statement for this piece follows:

“Write the Power” began serendipitously as the artist sat on the couch listening to music while reading, writing, researching, and sketching an idea to synthesize the worlds of Henry Thoreau and punk rock. The phrase “write the power,” which stems from the 1980’s Public Enemy song “Fight the Power,” sprang into his mind with the image of a power salute fist holding a pencil. The artist envisioned a series of mixed media pieces featuring revolutionary writers, artists, and musicians, celebrating the power of language and the written word. This piece is the first one completed in what he hopes will be a large body of work.

Thoreau, Graffin, & the Punk Ethos

Clearly, an anti-establishment and authority-defiant approach is fundamental to both Thoreau and the punk aesthetic, and perhaps the most obvious connection between the two men and movements. In a scholarly book length follow up to his punk manifesto, Greg Graffin expanded on the punk ideal with Anarchy Evolution: Faith, Science, and Bad Religion in a World Without God. In it Graffin explains punk’s challenge to the tyranny of institutional authority warning that “If people unquestionably give in to the massive force exercised by the oppressive institution that is the government, they will enable the people in power.” This criticism mirrors Thoreau’s assertion in Resistance to Civil Government about the relatively few bending the government to their will with the Mexican War. 

Prior to Graffin’s book Anarchy Evolution, Bad Religion’s song "You are the Government" had decreed “when people bend, the moral fabric dies,” and that concern is the essence of Thoreau’s abolitionist stance and the development of his most significant and enduring political work in the art of “Civil Disobedience.” Thoreau’s original thinking on government and the integrity of the individual who dissents began as his counterargument to William Paly’s “Duty of Submission to Civil Government” from The Principals of Moral and Political Philosophy. While scholars and historians widely acknowledge the lineage of Thoreau’s ideas running through the anti-colonialist revolution led by Mohandas Gandhi and the American civil rights protests led by Dr. Martin Luther King, Jr., the defiant beliefs can easily extend through the 1970s and 80s with the rise of punk. 

Granted, no one is aligning the historical struggles for abolition, independence, and civil rights with the kids raging in mosh pits during the early 80s. That doesn’t, however, discount the connection of the punk ethos linking back to the ideas of Thoreau. For, when Graffin “warns against blindly accepting the government directives and blindly conforming to their ideals,” he is channeling the transcendentalist concepts of self-reliance and civil disobedience. Graffin, Bad Religion, and the punks of the Lower East Side would certainly “accept the motto that government is best that governs least” and might even agree that “when men are prepared for it, that is the type of government they shall have.”

Thoreau the Educator

In Laura Dassow Walls' sublime Thoreau biography, she describes 1839 as a time when Thoreau's life truly blossomed. Coming out of the harsh economic market facing young people when Thoreau graduated amidst the Panic of 1837, which led to the country's first and most serious economic depression lasting nearly ten years, Henry and his brother opened their school, and he "rose to a position of standing and honor in his community." The Thoreau school was truly an exemplary model of education, extending far beyond the rote memorization of early America's classical liberal arts foundation. 

In a letter to Orestes Brownson, Thoreau had pondered why we should "leave off our education when we begin to be men and women? ... It is time that villages were universities," uncommon schools where citizens could pursue liberal studies for the the rest of their lives, banding together to fund the arts and learning, and make not a village with a few noble men, but "noble villages of men."

Thoreau: the Economist

While Henry Thoreau is often thought of as an environmentalist and a nature writer, based primarily on the reading public's knowledge his work Walden, or Life in the Woods, fewer people see Thoreau through his philosophy on work and economics. In fact, few people think of Thoreau as an economics writer even though the introductory section to his opus, Walden, is titled "Economy." Truly, Thoreau wrote at length on the natural world and man's relationship to his environment, but his retreat to Walden Pond was specifically designed and chosen for him to have time, space, and a viewpoint from which to critique a dynamic and changing economic situation in Concord and America at large. 

In the study Henry at Work (Kaag and Van Belle), Thoreau is portrayed as one who above all else "realized the power of money to warp our lives." Having graduated from Harvard in 1837 during the most serious economic crisis the young nation had yet faced, Thoreau both witnessed the rise of the consumer commercial economy in which surplus was a new concept, at the same time he experienced the dire fiscal situation facing many young graduates. In fact, as Robert Sullivan points out in The Thoreau You Don't Know, young Henry "went to the pond to make a point about work." Thoreau was actually an incredibly hard worker and industrious young man whose talents ranged from innovator of a new superior pencil lead to trusted surveyor of the Concord landscape.

And, "If you think Thoreau as anti-work, that is because Thoreau questioned "why we work" (Kaag and Van Belle). In embracing the natural world and being in tune with, rather than at odds with, his environment, Thoreau even challenged the Biblical notion of the work week and the Sabbath, opining that man should work one day a week and rest the other six. Imagine the views of church leaders and inheritors of the Puritan ethic with that one. Yet, Thoreau was no "do-little," as he is often mistaken to be and criticized for.  While Thoreau explains that his "purpose in going to Walden was not to live cheaply nor to live dearly, but to transact some private business the fewest obstacles," he was working to explore and develop an economic critique.

And despite those stated intentions of transacting private business, "an important part of of Thoreau's experiment turned out to involve basic economic questions: What is the best way to earn a living? How much time should be spent at it?" (Thoreau's Living Ethics, Cafaro). Few people ask these questions, though Henry believed people should first and foremost draw their own conclusions, rather than submit to standards established by institutions. For he believed the point of economics is not how much wealth an individual produces, but what sort of people that work and wealth makes us.

An interesting connection to punk culture, especially in the second wave California bands like Black Flag and Minutemen, is the serious work ethic exhibited by these musicians to simply work on their terms. Because the punk economy was small, most bands lived quite sparsely, often "hand-to-mouth," and that fiscal reality was fundamental to the band Minutemen's philosophy and ethic of "jamming econo," which basically meant doing things "as cheaply and efficiently as possible" (White Boys, White Noise, Bannister).