Showing posts with label commentary. Show all posts
Showing posts with label commentary. Show all posts

Friday, January 17, 2014

Christina Hoff Sommers - Masculinity Is More Than a Mask


Christina Hoff Sommers is a political commentator, author, and resident scholar at the American Enterprise Institute (a right wing "think tank"). A revised and updated version of her book, The War Against Boys: How Misguided Policies are Harming Our Young Men, has recently been published.

Although I applaud Sommers for her frequent and vocal defense of men (although it sometimes seems she is defending the traditional model of masculinity against its own growth and evolution), I often disagree with he, as the prior parenthetical indicates.

In this article from Time Magazine she offers her supportive critique of how to make The Mask You Live In a better or more fair film for men and boys. This is one of those times I mostly agree with her. 

Masculinity Is More Than a Mask

Is it O.K. to tell boys to "be a man"? An upcoming film that is much buzzed about on the web ignores the real differences between the sexes


By Christina Hoff Sommers Jan. 13, 2014


Are school shooters and mass murderers born out of an aggressive emphasis on masculinity in our society? The trailer for filmmaker and feminist activist Jennifer Siebel Newsom’s new documentary, The Mask You Live In, would have us think so.

The recently released trailer has attracted 1 million views on YouTube. It argues that American boys are captive to a rigid and harmful social code of masculinity. From the earliest age, they are told to “Be a man!” “Don’t cry!” “Stop with the emotion!” and “Man up!” This “guy code” suppresses their humanity, excites their drive for dominance and renders many of them dangerous. The trailer features adolescent men describing their isolation, despair and thoughts of suicide, artfully interspersed with terrifying images of school shooters and mass murderers.

I admire Newsom for using her considerable talent to advocate for boys. But I worry that she is less concerned with helping boys than with re-engineering their masculinity according to specifications from some out-of-date gender-studies textbook. The trailer is suffused with males-are-toxic ideology but shows little appreciation for how boys’ nature can be distinctively good. The Mask You Live In is scheduled to be released later this year. Let’s hope there is still time for edits.

Here are a few suggestions:


1. Recognize that masculinity is more than a “mask”

The title and content of the film suggest that masculinity is a cultural creation. That is only marginally true. A lot of typical boy behavior, such as rough-and-tumble play, risk taking and fascination with gadgets rather than dolls, appears to have a basis in biology. Researchers have found, for example, that female monkeys play with dolls much more than their brothers, who prefer toy cars and trucks. Are male monkeys captive to a “guy code”? A recent study on sex differences by researchers from the University of Turin, in Italy, and the University of Manchester, in England, confirms what most of us see with our eyes: with some exceptions, women tend to be more sensitive, esthetic, sentimental, intuitive and tender-minded, while men tend to be more utilitarian, objective, unsentimental and tough-minded. We do not yet fully understand the biological underpinnings of these universal tendencies, but that is no reason to deny they exist.

(MORE: It’s a Man’s World, and It Always Will Be)


2. Appreciate the difference between healthy and pathological masculinity

Some boys are hypermasculine or pathologically masculine. They are bullies and worse, establishing their male bona fides through destruction, mayhem and preying on the weak and vulnerable. But most boys evince healthy masculinity. They may enjoy mayhem in games and sports, but in life they like to build, not destroy. Their instinct is not to exploit vulnerable people but to protect and defend them. Of course, all boys need guidance and discipline from the adults in their lives. I agree with Newsom that telling a boy to “man up” can be harsh and degrading. But teaching him to “be a gentleman” is another matter. It’s a tried-and-true way to bring out the best in males.


3. Acknowledge the virtue of male reserve

Newsom’s film tells us that boys in our society don’t feel safe talking about emotions and personal struggles. To do so violates the boy code and subjects them to shame and ridicule. The driving message of Newsom’s film is that we must free our young men to become emotionally expressive. Of course, parents should do all they can to improve their sons’ emotional literacy. But parents (as well as wives and girlfriends) should keep in mind that male reticence has its advantages.

A 2012 a study surveyed and observed nearly 2,000 children and adolescents and found that boys and girls have very different expectations about the value of problem talk. Girls were more likely to report that personal disclosure made them feel cared for and understood. Boys, overall, found it to be a tedious waste of time — and “weird.” Contrary to what we learn from Newsom’s film, boys did not find personal disclosure embarrassing or unmasculine. According to the study’s author, Amanda Rose: “Boys’ responses suggest they just don’t see talking about problems to be a particularly useful activity” (emphasis added).

But in girls, excessive problem talk is in fact linked to anxiety and depression. Male stoicism may be adaptive and protective. If you want a boy to be more forthcoming, Rose has good advice for parents and counselors: “You will have to persuade him that it serves a practical purpose.” Engage his male instinct for problem solving.

(MORE: What Boys Want: Hook-Up Culture Doesn’t Just Hurt Girls)


4. Make clear that most boys are psychologically sound and resilient

The Mask You Live In gives the impression that the average adolescent boy is severely depressed. In fact, clinical depression is rare among boys. (National Institute of Mental Health data show that the prevalence of depression among among 13- to 17-year-old boys is 4.3%; among girls of the same age group, it is 12.4%.)

Newsom’s film reports that every day in the U.S. three or more boys take their own lives. Suicide is, indeed, primarily a male disease. Among 10- to 24-year-olds, 81% of suicide victims are male. In 2010, a total of 3,951 young men died by their own hands. Male suicide is a much neglected scourge, and Newsom’s efforts to raise awareness are admirable. Still, in a nation of nearly 33 million boys, that means that the percentage of boys who commit suicide is close to 0.01%. Each of these deaths is a tragedy. But it helps no one to pretend that suicide is typical male behavior.

Attention-deficit/hyperactivity disorder (ADHD) does appear to be an epidemic among boys, but the implications of that are ambiguous. It could be that as a society, we are pathologizing age-old male rambunctiousness. Some experts have suggested that ADHD would be significantly reduced if we allowed boys more unstructured recess and occasions for spirited rough-and-tumble play. Yet, in Newsom’s documentary, scenes of boys engaging in mock fisticuffs, playfully head-butting and chasing one another around the playground are offered as evidence of how young males are driven to “prove” their aggressive masculinity.


5. Include specific ideas on how to help boys with depression or thoughts of suicide

Some of the most promising, innovative ideas are coming out of Australia. In 2006, a report in the Medical Journal of Australia argued for a paradigm shift in the nation’s mental-health system. Rather than blaming “masculinity” or trying to “re-educate” men away from their reluctance to seek help, the author asks, “Why not provide health services that better meet the needs of men?”

The Australians are now developing male-specific mental-health protocols. A 2012 Australian study, for example, found that large majorities of young men associate the term mental health with insanity and straightjackets. Mental fitness seems to go over better with men. The Australians recently launched a mental-fitness app for guys. The focus is on acquiring “skills,” developing “strengths” and achieving “self-mastery.” But doesn’t that reinforce traditional narratives of masculinity? It certainly does — that’s the point, and the key to its promise.

The energy, competitiveness and corporal daring of normal males are responsible for much good in the world. No one denies that boys’ aggressive and risk-taking tendencies must be socialized and channeled toward constructive ends. But the de–Tom Sawyering of the American boy should not be anyone’s agenda. I am sure it is not Newsom’s. Yet her film in progress suggests otherwise.





Christina Hoff Sommers @chsommers

Christina Hoff Sommers is a resident scholar at the American Enterprise Institute. A revised and updated version of her book, The War Against Boys: How Misguided Policies are Harming Our Young Men, has recently been published. The views expressed are solely her own.

Monday, September 30, 2013

Reviewing the Final Episode of Breaking Bad

[WARNING: Spoiler alert - if you have not seen the finale do not read this post.]

NOTE: This post also appears at my other blog, Integral Options Cafe.

As the music played and the camera panned away from Walt's body, I felt a kind of relief, as though I had been holding my breath for five seasons waiting for the conclusion that was inevitable at the beginning of the show.

And still I am haunted (as much as one can be by a television show) by the vagueness of Jesse's fate. He was, for many reasons, my favorite character on the show. Perhaps I identified with his troubled family background and retreat into drug use (all too familiar in my youth), or I saw in him the path not taken when I decided to get my act together, quit the drugs, and go back to school.

More than that, Jesse was the heart of the show in many ways. He FELT the things the happened, the killings, the manipulations, the torture. Walt was able to compartmentalize it all, rationalize it all, but not Jesse - he was tormented by the things that happened, the things he nonetheless participated in. If Walt was the brain, Jesse was the heart.

I want a whole new series, set two years after this finale, with Jesse as the central character, possibly raising Brock as a single father now that Andrea was killed. I won't get that wish. But I like to think that is the path Jesse took following his primal scream of freedom, loss, suffering, frustration, relief, and maybe even happiness that he survived.

I liked the finale. How about you?

Here are several of the multitude of morning-after evaluations of the most talked about series finale in years.

Two from Salon:

Was the “Breaking Bad” ending too neat?

The show's finale was well-received, but some critics wonder if it was true to the characters and the show 
By Prachi Gupta

Was the  

AMC’s epic crime drama “Breaking Bad” has come to its bloody end, and so far, reception from television critics has been overwhelmingly positive — good news for show creator Vince Gilligan, who had predicted that it would be “polarizing.” On “Talking Bad,” which aired immediately following the finale, Gilligan said that unlike “The Sopranos,” “Breaking Bad’s” finale episode, “Felina,” needed to tie up lose ends. “This show was intended all along to be very finite. It’s a story that starts at A and ends at Z, as it were. It’s a very closed-ended thing.” 

* * *

In the end, Walt won


Whether he was a hero or a villain, Walter White got nearly everything he ever wanted
By Neil Drumming



“When I pop the trunk, hit the deck.” — The Beatnuts, “Reign of the Tec”

Last night, we witnessed the end of AMC’s “Breaking Bad.” I’d been dreading that moment for a week and not just because I am a faithful disciple of the program and hate to see it disappear from my Sunday ritual. I was dreading the finale because I knew that as soon as the credits rolled I would have to craft some sort of coherent and cohesive reaction to something that had taken me years to consume and would likely take days if not weeks to digest.

 * * * * *

Two from Rolling Stone:

Lessons of the 'Breaking Bad' Series Finale

Five takeaways from the last episode of a modern saga



By Scott Neumyer
September 30, 2013

Breaking Bad premiered its first episode on AMC in January 2008. Five years, five seasons and 62 episodes later, one of the greatest television dramas of all time came to an end last night as Vince Gilligan's landmark series took its final, bloody bow. In a TV landscape that has, in recent years, found it difficult to satisfyingly wrap up beloved shows in a way that hits the right emotional notes while also tying up loose ends, Breaking Bad's final episode may prove to be one of the most fulfilling and well-made farewells ever. And while we're sure to keep "Felina" on our DVRs for repeated close inspection of the episode over the next few weeks, here are a few quick takeaways.

* * *

'Breaking Bad' Finale Recap: Heisenberg Certainty Principle

Like Walter White's meth, the finale's formula was flawless – but is that a good thing?

September 30, 2013 
Jesse Pinkman built the perfect box. He sawed it off, sanded it down, hammered it together, smoothed it out, and carried it away with all the pride of a first-time father. This is the fantasy-memory he retreated to when reality became too broken for him to face at last – the one time in his life when he felt he accomplished exactly what he set out to do, the one time he made everything fit.

For better or for worse, that box is Breaking Bad.


* * * * *

From Vulture:
Walter White (Bryan Cranston) - Breaking Bad _ Season 5, Episode 16 - Photo Credit: Ursula Coyote/AMC
"Strike, Shadow, strike! And see his good deeds springing from the wound, to sow the world with life immortal!" Charles Dickens, A Christmas Carol

"Hello, Carol."

That is, if I'm not mistaken, the first line in the final eight-episode stretch of Breaking Bad, uttered at the end of the prologue in "Blood Money." We heard the name of that previously unmet neighbor, Carol, again in "Felina." The episode's title is an anagram for "finale" as well as a reference to The Girl in Marty Robbins's classic "El Paso," whose lyrics are echoed in this chapter's Western-ballad-like tale of an outlaw dying an outlaw's death. In a phone conversation between Skyler and Marie about Walt's return to Albuquerque, series creator Vince Gilligan, who wrote and directed this series ender, repeated her name and even had Skyler situate her geographically. "Hello, Carol": or hello, Carol. As in A Christmas Carol.

* * * * *

From NPR:



Bryan Cranston wrapped up his run Sunday night as Walter White in Breaking Bad.
Breaking Bad creator Vince Gilligan signaled in interviews leading up to Sunday night's series finale that those who craved some redemption for Walter White were the ones most likely to leave happy.

"We feel it's a satisfying ending," Gilligan told Entertainment Weekly. "Walt ends things more or less on his own terms."

For Gilligan, those things were self-evidently connected: the satisfaction of the ending and the degree to which the terms of that ending are set by Walt. And that's probably true for broad segments of the show's legions of fans who continued to root for Walt at some elemental level, or least to root for him to become root-able again.

Wednesday, November 28, 2012

Johnny Cash Sings “Man in Black” for the First Time, 1971

From Open Culture, this is a gem of a find - the first ever performance of one of Johnny Cash's most famous songs, Man in Black, a title which became his trademark. As he mentions in the introduction to the song, it's still so new to him that he needs cue cards to remember his most recent rewrites (from that morning).

Johnny Cash Sings “Man in Black” for the First Time, 1971

November 26th, 2012


Recently we featured a video of Neil Young performing on The Johnny Cash Show in 1971. Today we bring you another extraordinary moment from the very same episode: Johnny Cash introducing his now-classic song, “Man in Black.”

It’s from a special called “Johnny Cash on Campus” which aired on February 17, 1971. The performance was taped in front of an all-student audience at the Ryman Auditorium in downtown Nashville. A few days earlier Cash had traveled across town to visit students on the campus of Vanderbilt University and, as he explains here in the introduction, an idea began brewing.

1971 was a time of widespread student protests over the Vietnam War and other issues. The Kent State shootings had happened the year before. As a protest song, “Man in Black” shows Cash’s ability to reach across generations and appeal to audiences much wider than those usually afforded to country music.

When Cash first played the song at Ryman Auditorium it was so new he needed cue cards to follow the words. The video offers a rare glimpse of an artist trying out a major work when the paint was still wet.

Related content from Open Culture: