Sublime

exactly—irony was defeatist, timid, the telltale of a generation too afraid to say what it meant, and so in danger of forgetting it had anything to say.

The advocates and defenders of the black jazz avant-garde and the emergent black cultural nationalists had to distance themselves from what they took to be the threat to their project of black freedom—bebop as jazz authenticity, and cultural assimilation as the solution to black cultural subordination.

Robin Hanson and I share a belief that two rationalists should not agree to disagree: they should not have common knowledge of epistemic disagreement unless something is very wrong.