The Sixties Swept Away in a Whirlwind of Commodities and Repressive Surveillance
I inherited the instinct as a true-born American bred to the worship of both machinery and money; an appreciation of its force I acquired during a lifetime of reading newspaper reports of political uprisings in the provinces of the bourgeois world state—in China, Israel, and Greece in the 1940s; in the 1950s those in Hungary, Cuba, Guatemala, Algeria, Egypt, Bolivia, and Iran; in the 1960s in Vietnam, France, America, Ethiopia, and the Congo; in the 1970s and 1980s in El Salvador, Poland, Nicaragua, Kenya, Argentina, Chile, Indonesia, Czechoslovakia, Turkey, Jordan, Cambodia, again in Iran; over the last 24 years in Russia, Venezuela, Lebanon, Croatia, Bosnia, Libya, Tunisia, Syria, Ukraine, Iraq, Somalia, South Africa, Romania, Sudan, again in Algeria and Egypt.
The plot line tends to repeat itself—first the new flag on the roof of the palace, rapturous crowds in the streets waving banners; then searches, requisitions, massacres, severed heads raised on pikes; soon afterward the transfer of power from one police force to another police force, the latter more repressive than the former (darker uniforms, heavier motorcycles) because more frightened of the social and economic upheavals they can neither foresee nor control.
All the shiftings of political power produced changes within the committees managing regional budgets and social contracts on behalf of the bourgeois imperium. None of them dethroned or defenestrated Adams' dynamo or threw off the chains of Marx's cash nexus. That they could possibly do so is the "romantic idea" that Albert Camus, correspondent for the French Resistance newspaper Combat during and after World War II, sees in 1946 as having been "consigned to fantasy by advances in the technology of weaponry."
The French philosopher Simone Weil draws a corollary lesson from her acquaintance with the Civil War in Spain, and from her study of the communist Sturm und Drang in Russia, Germany, and France subsequent to World War I. "One magic word today seems capable of compensating for all sufferings, resolving all anxieties, avenging the past, curing present ills, summing up all future possibilities: that word is revolution…This word has aroused such pure acts of devotion, has repeatedly caused such generous blood to be shed, has constituted for so many unfortunates the only source of courage for living, that it is almost a sacrilege to investigate it; all this, however, does not prevent it from possibly being meaningless."
During the turbulent decade of the 1960s in the United States, the advancing technologies of bourgeois news production (pictures in place of print) transformed the meaningless magic word into a profitable commodity, marketing it both as deadly menace and lively fashion statement. The commercial putsch wasn't organized by the CIA or planned by a consortium of advertising agencies; it evolved in two stages as a function of the capitalist dynamic that substitutes cash payment for every other form of human meaning and endeavor.
The disorderly citizenry furnishing the television footage in the early sixties didn't wish to overthrow the government of the United States. Nobody was threatening to reset the game clock in the Rose Bowl, tear down Grand Central Terminal, or remove the Lincoln Memorial. The men, women, and children confronting racist tyranny in the American South—sitting at a lunch counter in Alabama, riding a bus into Mississippi, going to school in Arkansas—risked their lives in pure acts of devotion, refreshing the tree of liberty with the blood of patriots.
The Civil Rights movement and later the anti-Vietnam War protests were reformative, not revolutionary, the expression of democratic objection and dissent in accord with the thinking of Jefferson, also with President John F. Kennedy's having said in his 1961 inaugural address, "Ask not what your country can do for you—ask what you can do for your country." Performed as a civic duty, the unarmed rebellions led to the enactment in the mid-1960s of the Economic Opportunity Act, the Voting Rights Act, the Medicare and Medicaid programs, eventually to the shutting down of the war in Vietnam.
The television camera, however, isn't much interested in political reform (slow, tedious, and unphotogenic) and so, even in the first years of protest, the news media presented the trouble running around loose in the streets as a revolution along the lines of the one envisioned by Robespierre. Caught in the chains of the cash nexus, they couldn't do otherwise. The fantasy of armed revolt sold papers, boosted ratings, monetized the fears at all times running around loose in the heads of the propertied classes.
The multiple wounds in the body politic over the course of the decade—the assassination of President Kennedy, big-city race riots, student riots at venerable universities, the assassinations of Dr. Martin Luther King Jr. and Senator Robert F. Kennedy—amplified the states of public alarm. The fantastic fears of violent revolt awakened by a news media in search of a profit stimulated the demand for repressive surveillance and heavy law enforcement that over the last 50 years has blossomed into one of the richest and most innovative of the nation's growth industries. For our own good, of course, and without forgoing our constitutional right to shop.
God forbid that the excitement of the 1960s should in any way have interfered with the constant revolutionizing of the bourgeois desire for more dream-come-true products to consume and possess. The advancing power of the media solved what might have become a problem by disarming the notion of revolution as a public good, rebranding it as a private good. Again it was impossible for the technology to do otherwise.
The medium is the message, and because the camera sees but doesn't think, it substitutes the personal for the impersonal; whether in Hollywood restaurants or Washington committee rooms, the actor takes precedence over the act. What is wanted is a flow of emotion, not a train of thought, a vocabulary of images better suited to the selling of a product than to the expression of an idea. Narrative becomes montage, and as commodities acquire the property of information, the amassment of wealth follows from the naming of things rather than the making of things.
The voices of conscience in the early 1960s spoke up for a government of laws, not men, for a principle as opposed to a lifestyle. By the late 1960s the political had become personal, the personal political, and it was no longer necessary to ask what one must do for one's country. The new-and-improved question, available in a wide range of colors, flower arrangements, cosmetics, and musical accompaniments, underwrote the second-stage commodification of the troubled spirit of the times.
Writing about the socialist turbulence on the late-1930s European left, Weil lists among the acolytes of the magic word, "the bourgeois adolescent in rebellion against home surroundings and school routine, the intellectual yearning for adventure and suffering from boredom." So again in America in the late 1960s, radical debutantes wearing miniskirts and ammunition belts, Ivy League professors mounting the steps of the Pentagon, self-absorbed movie actors handing around anarchist manifestos to self-important journalists seated at the tables in Elaine's.
By the autumn of 1968 the restaurant on the Upper East Side of Manhattan served as a Station of the Cross for the would-be revolutionaries briefly in town for an interview with Time or a photo shoot for Vogue, and as a frequent guest of the restaurant, I could see on nearly any night of the week the birth of a new and imaginary self soon to become a boldfaced name. Every now and then I asked one of the wandering stars what it was that he or she hoped to have and to hold once the revolution was won. Most of them were at a loss for an answer. What they knew, they did not want, what they wanted, they did not know, except, of course, more—more life, more love, more drugs, more celebrity, more happiness, more music.
On Becoming an Armed Circus
As a consequence of the political becoming personal, by the time the 1960s moved on to the 1980s and President Reagan's Morning in America, it was no longer possible to know oneself as an American citizen without the further identification of at least one value-adding, consumer-privileged adjective—female American, rich American, black American, Native American, old American, poor American, gay American, white American, dead American. The costumes changed, and so did the dossier of the malcontents believing themselves entitled to more than they already had.
A generation of dissatisfied bourgeois reluctant to grow up gave way to another generation of dissatisfied bourgeois unwilling to grow old. The locus of the earthly Paradise shifted from a commune in the White Mountains to a gated golf resort in Palm Springs, and the fond hope of finding oneself transformed into an artist segued into the determined effort to make oneself rich. What remained constant was the policy of enlightened selfishness and the signature bourgeois passion for more plums in the pudding.
While making a magical mystery tour of the Central American revolutionary scene in 1987, Deb Olin Unferth remarks on the work in progress: "Compared to El Salvador, Nicaragua was like Ping-Pong…like a cheerful communist kazoo concert…We were bringing guitars, plays adapted from Nikolai Gogol, elephants wearing tasseled hats. I saw it myself and even then I found it a bit odd. The Nicaraguans wanted land, literacy, a decent doctor. We wanted a nice singalong and a ballet. We weren't a revolution. We were an armed circus."
As a descriptive phrase for what American society has become over the course of the last five decades, armed circus is as good as any and better than most. The constantly revolutionizing technologies have been spinning the huge bourgeois wheel of fortune at the speed of light, remaking the means of production in every field of human meaning and endeavor—media, manufacturing, war, finance, literature, crime, medicine, art, transport, and agriculture.
The storm wind of creative destruction it bloweth every day, removing steel mills, relocating labor markets, clearing the ground for cloud storage. On both sides of the balance sheet, the accumulations of more—more microbreweries and Internet connections, more golf balls, cheeseburgers, and cruise missiles; also more unemployment, more pollution, more obesity, more dysfunctional government and criminal finance, more fear. The too much of more than anybody knows what to do with obliges the impresarios of the armed circus to match the gains of personal liberty (sexual, social, economic, if one can afford the going price) with more repressive systems of crowd control.
To look back to the early 1960s is to recall a society in many ways more open and free than it has since become, when a pair of blue jeans didn't come with a radio-frequency ID tag, when it was possible to appear for a job interview without a urine sample, to say in public what is now best said not at all. So frightened of its own citizens that it classifies them as probable enemies, the US government steps up its scrutiny of what it chooses to regard as a mob. So intrusive is the surveillance that nobody leaves home without it. Tens of thousands of cameras installed in the lobbies of office and apartment buildings and in the eye sockets of the mannequins in department-store windows register the comings and goings of a citizenry deemed unfit to mind its own business.
The social contract offered by the managing agents of the bourgeois state doesn't extend the privilege of political revolt, a point remarked upon by the Czech playwright Václav Havel just prior to being imprisoned in the late 1970s by the Soviet regime then governing Czechoslovakia: "No attempt at revolt could ever hope to set up even a minimum of resonance in the rest of society, because that society is 'soporific,' submerged in a consumer rat race…Even if revolt were possible, however, it would remain the solitary gesture of a few isolated individuals, and they would be opposed not only by a gigantic apparatus of national (and supranational) power, but also by the very society in whose name they were mounting their revolt in the first place."
The observation accounts for the past sell-by date of the celebrity guest alone and palely loitering in the green room with the bottled water and the banana. Who has time to think or care about political change when it's more than enough trouble to save oneself from drowning in the flood of technological change? All is not lost, however, for the magic word that stormed the Bastille and marched on the tsar's winter palace; let it give up its career as a noun, and as an adjective it can look forward to no end of on-camera promotional appearances with an up-and-coming surgical procedure, breakfast cereal, or video game.
Lewis H. Lapham is editor of Lapham's Quarterly and a TomDispatch regular. Formerly editor of Harper's Magazine, he is the author of numerous books, including Money and Class in America, Theater of War, Gag Rule, and most recently, Pretensions to Empire. The New York Times has likened him to H.L. Mencken; Vanity Fair has suggested a strong resemblance to Mark Twain; and Tom Wolfe has compared him to Montaigne. This essay, slightly adapted for TomDispatch, introduces "Revolution," the Spring 2014 issue of Lapham's Quarterly, soon to be released at that website.
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