When I was 15, I subscribed to Policy Review magazine, as part of my ongoing project to outwit my liberal teachers by knowing more facts than they did. (In many cases, that wasn't very hard.) Though I read a lot about politics, I wasn't an outcast — by my senior year, I was the president of our high school's student government, as the Schultz Boys can attest, and I ruled with an iron fist. "El Queso Grande," people called me, though never to my face.
Anyway: there are two excellent articles in the December issue that I commend for your attention. The first is by Jesuit Father James V. Schall, who puts the case for the just use of force as well as I wish I could:
A calm and reasonable case can and should be made for the possession and effective use of force in today’s world. It is irresponsible not to plan for the necessity of force in the face of real turmoils and enemies actually present in the world. No talk of peace, justice, truth, or virtue is complete without a clear understanding that certain individuals, movements, and nations must be met with measured force, however much we might prefer to deal with them peacefully or pleasantly. Without force, many will not talk seriously at all, and some not even then. Human, moral, and economic problems are greater today for the lack of adequate military force or, more often, for the failure to use it when necessary. [full article]As a bonus, read "Eminem Is Right," by Mary Eberstadt:
...If yesterday’s rock was the music of abandon, today’s is that of abandonment. The odd truth about contemporary teenage music — the characteristic that most separates it from what has gone before — is its compulsive insistence on the damage wrought by broken homes, family dysfunction, checked-out parents, and (especially) absent fathers. Papa Roach, Everclear, Blink-182, Good Charlotte, Eddie Vedder and Pearl Jam, Kurt Cobain and Nirvana, Tupac Shakur, Snoop Doggy Dogg, Eminem — these and other singers and bands, all of them award-winning top-40 performers who either are or were among the most popular icons in America, have their own generational answer to what ails the modern teenager. Surprising though it may be to some, that answer is: dysfunctional childhood. Moreover, and just as interesting, many bands and singers explicitly link the most deplored themes in music today — suicide, misogyny, and drugs — with that lack of a quasi-normal, intact-home personal past.To put this perhaps unexpected point more broadly, during the same years in which progressive-minded and politically correct adults have been excoriating Ozzie and Harriet as an artifact of 1950s-style oppression, many millions of American teenagers have enshrined a new generation of music idols whose shared generational signature in song after song is to rage about what not having had a nuclear family has done to them. This is quite a fascinating puzzle of the times. The self-perceived emotional damage scrawled large across contemporary music may not be statistically quantifiable, but it is nonetheless among the most striking of all the unanticipated consequences of our home-alone world. [full article]
