The truce in the battle of the sexes during peaks of social harmony, 1940s and 1990s, halfway between peaks of social chaos circa 1920, 1970, and 2020

A topic I've been exploring lately relates to the 50-year cycle that Peter Turchin uncovered in social chaos and civil breakdown in American history, with eruptions circa 1970, 1920, 1870, missing one in 1820, and 1770. On that basis he predicted another eruption circa 2020 -- boy, was he right on the money.

He does mention the opposite values of these chaotic eruptions -- low-points for civil breakdown, or in other words, peaks of social harmony. The Era of Good Feelings in the 1820s was halfway between the breakdowns of the 1770s and 1870s. The Gay Nineties were halfway between the breakdowns of the 1870s and circa 1920.

It's misleadingly called the WWII era, since it began well before the war did (certainly before America's involvement in it), but the '30s and first half of the '40s, even the late '20s, were another such period. Woody Allen dubbed the period Radio Days. Also the period in which A Christmas Story is set. Or the contempo setting of It's a Wonderful Life. Whatever we call it, it was halfway between the breakdowns of circa 1920 and 1970.

Well, we just went through another breakdown circa 2020, which leaves the halfway point between it and the previous one before that, 1970, circa 1995. And really, harmony had been on the upswing by the late '70s, lasting throughout the '80s, and peaking in the first half of the '90s.

Chaos, breakdown, disorder, riots, etc. -- far more attention-grabbing for historians. The phases of greater harmony, stability, order, and calm, tend to go unnoticed.

Because this cycle pertains to such a foundational aspect of society -- order vs. disorder -- it affects so many domains of societal life. Riots vs. calmness is an obvious one. I'm interested in surveying how broadly this cycle touches our lives.

A perennial topic of discourse is the battle of the sexes, which has reached a fever pitch in the last 5, 10, 15 years. I think we're past the worst part of it, but it's still raging.

And before focusing on the harmonious phase, it does help to start with the chaotic phase, since its symptoms are so much more intense and easy to discern.

During the most recent chaotic phase, circa the late '90s through the early 2020s, and exploding during the woketard 2010s, there are too many symptoms to list briefly. #MeToo, Slutwalk, toxic masculinity, incels, gay BFFs / fag hags, fujoshi fanfic (girl imagining herself as a male in a homoerotic male-male fantasy), redpill, Game / pickup artists, porn based on degradation or humiliation (for either sex), and on and on down the line. Guys and girls could not have inhabited more separate, and more mutually hostile social environments.

In terms of waves of feminism, this is associated with the Fourth Wave.

During the previous eruption of chaos in the late '60s and early '70s, there was the Second Wave of feminism. Mostly focused on abortion, but also women's liberation in general, free love, bra-burning, equal pay for equal work, divorce, and the birth of what's called radical feminism i.e. the bitter man-hating abolish all gender roles type. That included the SCUM Manifesto, i.e. the Society for Cutting Up Men, by the whackjob who shot Andy Warhol, Valerie Solanas -- this was before feminazis sanctified gay men as their protective cockblocking eunuchs against the forces of toxic heterosexual masculinity.

During the previous eruption of chaos before that, was the breakdown of the late 1910s and early '20s. That coincided with the First Wave of feminism, specifically the Suffragette movement. Along with the chaotic social mood generally, this movement of feminism had been growing since the turn of the 20th century, it just hit its peak circa 1920 (when the US granted women the right to vote).

You may have noticed a skipped-over wave of feminism -- the Third Wave. That term applies to the '90s and the early 2000s, during a period of relative social calm rather than upheaval, as opposed to the other three waves coinciding with civil breakdowns.

Well, Third Wave feminism doesn't really exist, and feminists admit it -- its hallmark was its lack of cohesion politically, and lack of coherence conceptually. It's more of a placeholder term for "whatever feminists were up to in the '90s". And it's premised upon women of the '80s and '90s having won so many things during the previous two waves, so what was left for the '90s?

One of the major books of the Third Wave, Susan Faludi's Backlash ('91), is more about the past than the present -- the backlash against the Second Wave after the peak of social chaos had been reached, by the late '70s and throughout the '80s and into the early '90s.

The other major book, which *was* more about the present than a backlash against the previous wave, was The Beauty Myth by Naomi Wolf (also '91). Like the Third Wave in general, its premise is how many material, legal, and other gains have already been won due to the First and Second Waves. Now with women seemingly having it all, they find themselves searching for that last little bit of perfection that cannot be allocated to them by laws or corporate policies -- beauty, namely cosmetic surgery, fashion victimhood, eating disorders, and the like. The idea was, let's try to liberate ourselves from that self-imposed / mass-mediated oppression, and focus more on our worth as people who are not paragons of beauty.

OK, if that's feminism, then there was a Third Wave of it in the '90s. But it's not a movement, not political, and not seeking to up-end society like the other three waves did. Crucially, it was not man-hating or man-blaming or seeking a redress of grievances from the offending male sex. All feminists are at least somewhat man-hating and man-blaming, but the Third Wavers were pretty tame and calm, relative to the radicals of the Second and Fourth waves on either side of them.

The most you could point to in the '90s was in its second half, after the peak of social harmony had been reached, and the pendulum began to swing once again toward chaos and breakdown -- but had only just begun to shift. These developments were the embryonic forms of Fourth Wave feminism that would rear their ugly heads for real during the woketard 2010s.

Things like The Vagina Monologues ('96) and the associated V-Day ('98) which warped Valentine's Day into a day of raising awareness about violence against women, and even the whole Girl Power phenomenon ("chicks before dicks", to counter "bros before hoes"), associated with the Spice Girls and their Millennial audience.

Also the rise of gay BFFs, gay eunuchs, fag hags, and fujoshi fanfic -- Will & Grace, Sex and the City, and by the early 2000s, the first gay kiss in primetime in an episode of Dawson's Creek (2000), and in the music video for "Beautiful" by Christina Aguilera (2002), and the bitter emo girl + messy gay BFF duo in Mean Girls (2004).

Suddenly, boys and girls were beginning to split apart, although this rift would not reach its yawning maximum until circa 2020. But it was quite a gear-shift or phase-change compared to the first half of the '90s, the '80s, and the late '70s.

So, one of the hallmarks of that harmonious phase was the relative absence of a feminist movement, especially of the man-hating and man-blaming and man-lobbying type that we usually require for something to be a true feminist movement.

The last time there was such a relative absence of feminism was the second half of the '20s (after women's suffrage was fait accompli, as well as discredited by their lobbying for the 18th Amendment to ban alcohol, which got repealed by the 21st Amendment in '33), all of the '30s, and at least the first half of the '40s.

You know the WWII era was barren of feminism when all they can point to, desperately, is the Rosie the Riveter ad campaign, or the fact that women joined the military as WACs and WAVES in their cute wool nurse's capes, to support the men in the war effort, in their typical female capacity. This was not man-hating, man-blaming, or man-lobbying for societal upheaval. So women could join the emergency war effort -- big deal, that's not radical at all, and tellingly it was not won by protests, violence, or other forms of coordinated confrontation against the power structure.

Much like the second half of the '90s, the second half of the '40s saw the very embryonic forms that would eventually become Second Wave feminism, like the 1949 publication of The Second Sex by Simone de Beauvoir, followed some time later in '63 by Betty Friedan's The Feminine Mystique.

I will go into greater detail on other cultural correlates of these harmonious phases, when the battle of the sexes ground to a halt. But for now, just to get the ball rolling, this brief overview of the timeline of various waves of feminism should give you the overall picture.

I promise those details will be more exciting and relatable than the history of feminism! But we have to start somewhere uncontroversial, like organized man-hating, man-blaming, and man-lobbying. And of course, the pair movement of womanizing, woman-hating, woman-blaming, and woman-hectoring. But the male version is not an organized or academic affair, so it doesn't leave as rich of a paper trail as the female version.

And in any case, females are the choosy sex in human beings, so generally speaking, what they say goes, regarding how close or distant the sexes will be with each other. The fine-detailed surveys will also focus more on how women change or cycle over time, although I will note how men change or cycle over time in the same ways.

RIP David Lynch, who mythologized the normies of Edenic Americana, through saturated dreamy naturalism

Following up on a series of comments starting here on the topic of "cool vs. weird," and another series starting here on the topic of the 50-year cycle in social cohesion vs. chaos -- and its cultural correlates -- I explored David Lynch's role in American cultural history, on the occasion of his recent death. I'll just paste the comments here, to get the ball rolling on a new post.

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RIP David Lynch, who produced most of his works during this wholesome period, and was always more cool than weird -- as were his creations.

If Twin Peaks had been weird and normie-shocking and taboo-violating and ugly or anti-aesthetic, there would never have been "Peaks mania". It was so widespread, I still vividly remember the day in 3rd or 4th grade, when a girl who sat at our little group of 4 desks pushed together, spontaneously burst out with

"Have you guys seen Twin Peaks???!??!?!??!!!! :DDDDDD"

None of us had, but her older sibling or parents were into it, and she watched along with them. We could tell how excited she was, so we believed it must be REALLY COOL, so tell us, what's it about? What makes it so cool? She couldn't really put it into words, and looked dejected after awhile, like, "Yeah, my 3rd-grade brain cannot convey the awesomeness of this show to my fellow 3rd-graders..."

But I always took that to heart, and watched it in earnest when it was shown in reruns on Bravo during the '90s or y2k (back when Bravo was like the Criterion Collection cable channel). I think I was reminded of it by some guy in our freshman dorm -- *not* a counter-cultural type, but a boarding school preppy -- was gushing over it, playing the opening theme song, etc. "You HAVE to watch it, whenever you can!"

Artsy-fartsy types loved it, too, but it was a surprise hit sensation due to its immediate appeal to normies. Nor does it depict counter-cultural types, or Bohemian urban niche environments -- exactly the opposite from someone like Woody Allen, who is primarily popular among art-y types.

It pains me to see Twin Peaks and other related works become hijacked by sub-cultures during the "weird instead of cool" phase of the cycle. Yeah, their predecessors liked it, too, but they didn't try to hijack or gatekeep it, or taint the association with it in a way that would repel normies from gushing over it as well, like their normie predecessors did back in the early '90s.

The elements of gore, violence, occult, etc. are played for sublime threat value, not for shock value or taboo-violation value. And they're balanced or heightened with elements of the beautiful -- the total babes he selected for the cast, the stunning locations, the striking rich colors and dramatic lighting, and the rest of it all.

Really his only weird / ugly / body-horror movie was Eraserhead, from '77.

The Elephant Man, from just 3 years later, was not like that at all, despite the subject being a disfigured freakshow attraction. I checked that out from the local library ALL THE TIME in kindergarten, when Blue Velvet had only just come out.

Yes, it was possible to "be into David Lynch before it was cool" back in the '80s, even for a Midwestern kindergartener who didn't even know his name. That movie was just too cool to not watch again and again and again. The things you could have imprinted on as an impressionable child in the good ol' days...

If only that girl in 3rd grade had told me that Twin Peaks was made by the same guy who made The Elephant Man, I would've been sold right away! And not had to wait until nearly 10 years later to track it down on cable -- and later, on DirectConnect.

Along with respect for taboos, goes respect for the holy and sacred and spiritual, which he incorporated into his work like few other art-school directors. And for the same reasons, his being one of the most all-American directors in the history of the medium.

Now that our cultural identity as Americans has largely matured, further down the line the dictionary definition of "Americana" will simply be David Lynch's '80s and '90s channeling of the late '50s and early '60s.

It isn't canonically American if it isn't in a David Lynch movie or TV show!

Very admirable role, to not only contribute so much primary material to American culture, but to serve as one of its main canonizers at the secondary level as well. RIP.

Delving further into Lynch's place in the "weird vs. cool" divide.

Surrealism, dreams / dreaminess, alternate dimensions, paranormal phenomena, etc. -- not weird in themselves. Not ugly, disgusting, disorienting, alienating, sacrilegious, profane, obscene, and so on.

The main way that surrealism *can* be taken in a weird direction is warped perception, hallucinations -- in the sense of trippy out-of-the-ordinary sensory perception, not just "such a thing couldn't exist here" like a person sitting on a wall or ceiling. Lynch never went with blurred vision, melting shapes, undulating lines of perspective within the spatial frame, kaleidoscopic ballets of pure shapes, and so on.

His surrealism is more of an "alternate reality" type, where the rules and nature of sensory perception remain the same as we ordinarily feel them. Perceptual naturalism.

So where does the alternate-ness come from, then? It ties into his pervasive tone of mystery, secrets, exploring the dim hidden crypts of reality. You can't immediately make sense of what you're encountering -- the space is too barren, the space seems to have no entrance and no exit, a person is sitting silent and looking at you but not saying anything, when they speak it's in a language you don't understand, or you understand that language but it's in concealed in cryptic riddles that invite you to solve and unlock their secret meaning, and so on.

Which is not to say it's off-putting or repulsive or dread-inducing -- it can go that extreme, but fundamentally it's more about cryptic meanings, which *can* be solved and understood, but not in the way you're used to determining the meaning of things.

The closest analogy to the sensation these alternate realities produce is discovering a treasure trove of communication in a language you don't speak and can't even decipher just yet, but which sparks your curiosity to decode it and learn to communicate in this unfamiliar language. You're hoping it's something mystical and BIG, not just ancient trade regulations or something boring and mundane like that...

We've all been in situations where we can't speak the language. As long as it's temporary, it's not so alienating -- before long, we'll be back to where we *do* speak the language effortlessly. And while we're in the foreign-speaking place, we can still try to figure out a pidgin to interact with this fascinating exotic world.

That's why he ties it so much into dreams -- dreams are fleeting and temporary. You'll wake up before too long, so even if you're having a nightmare, it's not a chronic condition. You're still grounded in the safe familiar waking world of your everyday environment. You're not permanently crossing over, climbing through the looking glass, whisked away by some cosmic force that may never whisk you back, etc.

Maybe you will -- maybe this is the big sleep, not just a single night's nightmare. But dreams are not inherently permanent, they are typically fleeting acute "conditions".

So, Lynchian surrealism is more about curiosity, exploring, a sense of adventure, going on a quest, solving a mystery, unlocking secrets. Fun, exciting, stimulating, inspiring -- not ugly, off-putting, demoralizing, degrading, or queering / weirding / warping. Especially not at the perceptual level, which would induce nausea and other disgust reflexes. Semantically disorienting, but never physically sea-sickening.

How about his famously "quirky" cast of characters? Isn't quirky synonymous with weird, misfit, etc? No, it just means they're not identical clones of each other, they all have their own distinct fingerprints, voices, faces, and yes personalities.

It's "all the colors of the rainbow" diversity, where each band of color is perceptually distinct, but all are equally natural examples of "color". There's not a standard color vs. marginal, misfit, outcast colors. There's no antagonism between the colors.

So I'd rather use the term "colorful characters" rather than "quirky," which can sometimes be conflated with weird, affected, etc.

That's the other thing -- colors don't strive to construct their own persona as being orange, green, etc. Their colors are just what they naturally are -- not carefully curated constructions and affectations performed for a real or imagined audience of spectators and evaluators. Lynchian "quirkiness" of characters is always unpretentious, naturalistic, and uninhibited. That's why they seem "extra" -- they're holding nothing back, concealing nothing, lacking artifice, uninhibited by anxieties about how they'll be perceived or accepted vs. rejected, etc.

I would call these personalities "highly saturated" if we're sticking with the "colorful" metaphor. They're not phony or affected colors, they just seem out of the ordinary due to how rich and saturated the pigment is -- almost realer than real -- since the artist did not dilute the pigment before applying it to the canvas.

These colorful characters are VIVID, not ostentatious or garish or caricatured or grotesque. Not campy either -- vivid.

So in this way he's emphasizing what is natural, not playing up the artificial. Celebratory naturalism, adulating naturalism -- not warping people into weird caricatured mask-wearers.

And so his characters are the opposite of affected, neurotic, performative theatre kids who curate an aura of being quirky, twee, or le sad and depressed, or whatever else. You've never met LESS neurotic characters in the history of the world's cultures...

Why are they so uninhibited, so lacking in artifice, so carefree inhabiting their distinct personalities? Cuz they aren't misfits, weirdos, etc., but belong to a community that accepts and values them simply for being members of the in-group. Like a great big single family, they are loved and appreciated unconditionally, so they are free to be themselves instead of having to construct a persona based on what will please some conditionally-loving fickle-taste audience or jury panel.

Not just among small-town folk either -- Mulholland Drive shows the same close-knit-ness of Angelenos broadly. Not to say there's never any conflict or antagonism or drama -- there's conflict within any family. Just to say that Angelenos treat each other like members of an extended family, not transactionally (and if a character does behave that way, it marks them as evil, misfit, threatening to the order, etc.).

You might even say Lynch's characters, their environment, and their social communities are Edenic -- Edenic Americana. There was temptation, conflict, etc. in the Garden of Eden, too -- Edenic doesn't imply free from threats or dangers or temptations.

But they live in a primeval, wholesome paradise, and the drama and conflict involves their loss of innocence through temptation and experience with not-so-wholesome elements (perhaps hostile invaders of their paradise, perhaps seductive antagonists who they succumb to through their own sinful free will).

This is another reason why his characters seem dialed-up -- they are more in the allegorical direction than the documentary / verite direction. They're Edenic, mythological, legendary, even though they're portrayed as inhabiting contemporary America. Mythological naturalism, legend-making naturalism.

Brief aside to say that Lynch never indulged in making anti-heroes, or glamorizing threats to the social order. The harmony and closely-knit fabric of the social order represented Edenic paradise, and whatever threatens to tear that to shreds is portrayed as an unalloyed evil, sometimes as a literal demon from a demonic dimension.

He never glorified weirdos, misfits, and anti-social types. At most, maybe gave them a seductive coolness, like leather-jacket-wearing, muscle-car-driving Frank Booth. But that was always undercut by exploring their own seedy underbelly (not just that of the wholesome small town) -- a raving nut who couldn't have fun without taking weird drugs, sexually crippled by perverse taboo-violating fetishes, deeply insecure, and ultimately pathetic, not someone anyone would want to emulate as le dark misunderstood anti-hero. Like other Lynchian characters, he's certainly colorful and vivid and memorable -- but not glorified or shown aspirationally.

You can instantly spot who misunderstands and hijacks Lynch's "quirkiness" by whether, when Lynch comes up in conversation, they chime in with "Heineken? Fuck that shit! Pabst Blue Ribbon!" or "A damn fine cup of coffee!"

Agent Cooper is equally colorful, vivid, and memorable -- but not the insecure, pathetic, LARP-y weirdo villain. *He* is the one that's glorified, and shown aspirationally. A modern day role model -- Lynch was a proud Eagle Scout, after all.

There was little in the way of moral ambiguity and other theatre-kid pretentiousness in the tone and themes -- there was good, and there was evil, and the creator was clearly on the side of the good guys. To choose otherwise would make the social order vulnerable to corruption and dissolution. He wanted to uphold and preserve it, and to express his gratitude at all the Edenic wonders that it provided to its dependents.

Another brief aside to emphasize that none of this morality was even crypto-Christian, let alone openly. That would have been too Olde Worlde LARP-y. If anything, it was part of New Age spirituality and morality -- how very American of him, yet again.

Ditto for the sacred music that accompanies this morality and narrative -- distinctly 20th-century American styles like jazz, R&B, blues, gospel, rock n roll, even synth-y New Age. The Twin Peaks theme song *was* included on the original definitive New Age compilation CD, Pure Moods.

I've brought this issue up before, but characters must be likeable and relatable and normie or at least normie-friendly / normie-aspiring, if their plight is to be felt by the audience. We don't care if an angry-at-everyone, self-focused, hyper-competitive brat suffers. All those taboo-violating, filthy-club-inhabiting gay weirdos from Cruising? Hard to feel sorry for them getting serial-murdered. They're already so debased, hardly human anymore.

That's why violence and other threats in Lynch's worlds are so poignant -- they're targeting the relatively innocent Edenic normies, who belong to a community, look attractive (naturally, not as in vain looks-maxxers), love others and are loved by others. THAT is a real loss.

When directors emphasize weirdos, misfits, anti-social types, competers, grade-grubbers, attention-whores, and other self-promoting types, and make them the victims, they're trying to force us into caring about people who don't care about us and would actively cut us down if given the power to. Sorry, no sympathy for the devil or his demonic minions, no matter how hamfistedly a grown-up misfit director tries to hector us into praising those who should be condemned.

Lynch allowed us to bemoan the loss of those who deserved to still be here. Moral naturalism, ethical naturalism, not moral inversionism.

Seduction, allure, glamor, temptation, and sin were other pervasive themes in his work. Ties into the beautiful, and the Edenic, and the loss of innocence, but also the mysterious, the cryptic, the puzzling -- that's another kind of attractive, enticing seduction. Irresistible, possibly to our own downfall, but an all-too-human desire.

Things that are weird, ugly, cursed, warped, unnatural, repulsive, etc. -- are *not* tempting, *not* alluring, *not* inviting us to stray from our normie path. Even when threats to the social order are shown, they have to have a kind of glamor or beauty, at least superficially and initially.

What could possibly tempt us to stray from our already beautiful Edenic paradise? -- something even more beautiful, more concentratedly beautiful, beauty in a form we haven't yet experienced hence exotic.

There is the occasional ugly revolting outsider threat (like the dumpster demon in Mulholland Drive), but those are rare. Ugliness, gore, splatter, filth, scat -- very rare in Lynch's rendering of the evil side of the universe. Also rare in his depiction of their evil effects on the good side -- no torture-porn gruesomeness done to the victims.

This places him in square opposition to the puritanical strain of American culture, especially as it arose during the late '90s and after, with torture porn that originated with David Fincher's Seven (1995), where ugly disgusting gruesome tortures are meted out to sinners in order for the punishment to fit the crime. See this earlier post.

Lynch is part of the Dark Age-oriented empathy toward sinners approach, emphasizing the seductiveness and superficial appeal of sin, understanding and trying to coax would-be sinners away from falling into temptation. As opposed to the puritanical discipline-and-punish approach of the humanist, Renaissance, Scientific Revolution, Enlightenment eras, where sinners get what they deserve, reap what you sow, etc., and where they get appropriate torturing punishments (which did not exist in the Dark Ages), witch-hunted (from the Scientific Rev era, not the Dark Ages), and so on and so forth.

There are no revenge fantasies, fan-fic, or other forms of self-aggrandizement in Lynch's work, unlike in many other favorites of the art-y crowd (like Woody Allen, to pick on him again somewhat, but he really is a good foil for Lynch).

He doesn't create these worlds in order to escape the perceived injustice of this world, into a better, just world where he comes out on top of his rivals or antagonists. Not masturbatory.

It's not escapist -- in a way it's embedding yourself even further within this reality, by not treating it in a documentary / verite way, but also not as some horrible unjust prison to escape from. It's dignifying this world, its characters, and its environment -- and even elevating them to legendary, mythological, allegorical significance. That's devoting yourself even more to this world.

So it's really not so fantastical after all, the "extra"-ness or intensity comes from imagining our world to be even more real than it really is, to be more whatever-it-is than it really is. Not "super"-natural, that has other connotations -- ultra-naturalism, maybe.

And again, those brief visits to and from alternate realities or spaces, are treated entirely naturalistically -- you visit such-and-such coordinates on a map, and presto, you're transported to the Black Lodge. It's like traveling via wormhole, in a "heavy on the science" sci-fi space story.

Just as Lynch does not denigrate the normies as enemies of the weird, he does not downplay this world as a bland flavor that should be left behind for a more fantastical razzle-dazzle escape-pod. He mythologizes the normies, as well as their worldly environment. Nobody to seek revenge against, no place to flee or escape from. Somebody to be treasured, and some place worth embedding yourself further into.