Sublime

then how have irony, irreverence, and rebellion come to be not liberating but enfeebling in the culture today's avant-garde tries to write about? One clue's to be found in the fact that irony is still around, bigger than ever after thirty long years as the dominant mode of hip expression. It's not a mode that wears especially well. As Hyde puts it,

Paul Humphrey was a session drummer who worked with everyone from Jimmy Smith and Charles Mingus to Frank Zappa and Marvin Gaye. He was also the drummer for Lawrence Welk’s TV show in the late seventies, and his children would sometimes appear with him on the show. Sound familiar?

He conducts an ongoing interrogation about what it all means. What’s black culture? What’s hip-hop? What are the responsibilities of a society and the people in it? And his inquiry isn’t bloodlessly academic, either; there’s something very consequential about his approach.

George Packer in 2014, in a New Yorker piece detailing Amazon’s takeover of the book industry. With this data,

In the New World, things seemed in a constant ascent. My parents weren’t drawn to the United States by any specific dream, just a chance for something different. Even then, they understood that American life is unbounded promise and hypocrisy, faith and greed, new spectrums of joy and self-doubt, freedom enabled by enslavement. All of these things