Archive for the ‘Art’ Category.

“Urban Renewal” and The Kakistocracy


Adventures in Buffaloland – Episode 1 – Tim Tielman in Niagara Square, downtown Buffalo

Urban renewal was the lethal marriage of progressive urban engineering with what Tim [Tielman] calls the “kakistocracy“—thieves who justify their crimes against place in the canting and condescending language of efficiency and inevitability.

New York’s Senator Daniel Patrick Moynihan once said, while being driven through urban-renewal-decimated Auburn, New York, “In the 1950s, with a progressive government and newspaper, you got into urban renewal and destroyed everything of value in your town. If you’d had a reactionary newspaper and a grumpy mayor, you might still have it.” Try to imagine Chuck Schumer or Kirsten Gillibrand saying something one-ten-thousandth as perceptive. (Confirming Moynihan, the largest American city to reject urban renewal funding was Salt Lake City, whose voters, following the lead of their delightfully cranky libertarian Mayor J. Bracken Lee, rejected the federal bulldozer in 1965 by a vote of 29,119 to 4,900.)

Moynihan had a soft spot for Buffalo, probably because it was filled with the ethnic Catholics who claimed his heart, if not always his head. His support was critical in saving Louis Sullivan’s terra cotta-ornamented Guaranty Building (1896) from senseless demolition. (In a 1961 essay in Commentary, Moynihan called Buffalo “a big, ugly, turbulent city.” I once asked him if that description caused any problems in his campaigns. He looked at me incredulously. “How many people in Buffalo do you think read Commentary?”)

Tielman says, “Absent the federal and state money, none of this devastation occurs in Buffalo or Niagara Falls.” He elaborates: “Where did this free money go? To the existing power structure”—whose acts of destruction were facilitated, I regret to say, by urban Catholic mayors, who sacrificed significant portions of their cities to the Greatest Generation’s Greatest God: Progress.

. . .

[T]he Canal District [in Buffalo] is now threatened by every parent’s nightmare: a children’s museum, a $27 million project, jointly funded by a state development corporation and corporate donors, with the city offering a $1-a-year lease for forty years.

Tim is not enthusiastic. “Did you know Buffalo is the largest city in the country without a children’s museum?” he asks in mock outrage. “We can’t let that stand!” More seriously, he notes that “children’s museums attract fewer people than cemeteries,” and that this one “has nothing to do with the Canal District—it could be anywhere.” (It could be anywhere—what an apposite caption for so many of the edifices that deface our cities: This could be anywhere.)

. . .

Jane Jacobs occupies the catbird seat on Tim’s bookshelf. He rhapsodizes Jacobsian over pre-urban renewal Buffalo, which was “dense with buildings and crowded sidewalks, where one could wander block upon block, past shop after shop, restaurant after restaurant, office building after hotel, without apparent end. Buffalo was a beehive, where all of life’s necessities, pleasures, and luxuries could be had within the square mile of its core.”

Its demolition was not the work of some invisible hand or inscrutable force but rather, in Tielman’s phrase, “social engineers” who destroyed the essence of the city.

. . .

Next time you’re in Buffalo—and you really ought to visit; the Buffalos and Lowells and Pittsburghs are so much better for the soul than Orlando or Myrtle Beach—take one of the Campaign for Greater Buffalo‘s open-air bus tours.

The Real Buffalo Rises: How one American city lost, and then reclaimed its destiny.


Adventures in Buffaloland – Episode 2 – Tim Tielman visits two office buildings in Buffalo


Adventures in Buffaloland – Episode 4 – St. Paul’s Cathedral and Sullivan’s Guaranty Building<

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Aliens in America


Lost in the Cosmos: Self-Help We Can Finally Believe In

“The lesson to be learned from our apolitical European critics was taught best by Pascal: Those who aspire to divinity end by brutalizing themselves and others. Or, as Tocqueville put it, modern theorists, by reducing their fellow human beings in theory to brutes, proudly believe that they have acquired the knowledge and power of God.”

Aliens in America: The Strange Truth about Our Souls,” by Peter Augustine Lawler (page 99)

See also, “Why the Liberal Elite Will Never Check Its Privilege

Scientism

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Sinners make the best saints

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In the Bleak Midwinter

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Outcasts

Outcasts, the movie

Outcasts follows the Franciscan Friars of the Renewal as they work on the streets with the poor and forgotten of New York, New Jersey, Nicaragua, Honduras, England, and Ireland. Campo explained the film-making process, and what it was like to work with the Franciscans. Below is the interview, or you can listen to it on iTunes or SoundCloud.

What is Outcasts about?

Joe: Outcasts is a documentary produced by Grassroots Films about the Franciscan Friars of the Renewal (CFRs). I’ve been pretty close to the CFRs since 1988, so I kind of feel like I had the inside scoop. People will see the friars doing a lot of work and see them visible in the street, but I’ve had the opportunity to be very close with them and see what happens on the inside—some of the work that they do that people are not aware of.

The Franciscan Friars of the Renewal Serve “Outcasts” in this New Documentary Film

Franciscan Friars of the Renewal

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We all stand on the shoulders of giants

Every normal person understands that every one of us stands on the shoulders of giants. Newton, Einstein, Aristotle, the inventors of the danish, and so on. And, though the West gave the East computers and plastic, and the East gave the West gunpowder and silk, undergraduates have given us nothing. But that’s not their fault — they’re young and innocent. They know nothing. You can’t blame an undergraduate for panicking about cultural appropriation any more than you can blame a puppy for chewing up your baseball mitt. That’s why these kids are in school — to learn things.

The spineless, weaselly deans and presidents of America’s universities should try to remember that.

The Liberal Fantasy of Cultural Appropriation, by Josh Gelernter

Moral preening. Ozymandias

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Masters in This Hall, and Ave Maria

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O Holy Night

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Handel’s “Messiah”

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Silence, and I Wonder as I Wander

An excellent method of preserving interior silence is to keep exterior silence. . . even in the world, each one of us can make his own solitude, a boundary beyond which nothing can force its way unperceived. It is not noise in itself that is the difficulty, but noise that is pointless; it is not every conversation, but useless conversations; not all kinds of occupation, but aimless occupations. In point of fact, everything that does not serve some good purpose is harmful. It is foolish, nay, more, it is a betrayal to devote to a useless objective powers that can be given to what is essential. There are two ways of separating ourselves from almighty God, quite different from one another but both disastrous, although for different reasons: mortal sin and voluntary distractions—mortal sin, which objectively breaks off our union with God, and voluntary distractions, which subjectively interrupt or hinder our union from being as close as it ought to be. We should speak only when it is preferable not to keep silence. The Gospel does not say merely that we shall have to give an account of every evil word, but of every idle thought.

St. Alphonsus Liguori

I Wonder as I Wander, by John Jacob Niles

1. I wonder as I wander out under the sky,
How Jesus the Savior did come for to die.
For poor on’ry people like you and like I…
I wonder as I wander out under the sky.

2. When Mary birthed Jesus ’twas in a cow’s stall,
With wise men and farmers and shepherds and all.
But high from God’s heaven a star’s light did fall,
And the promise of ages it then did recall.

3. If Jesus had wanted for any wee thing,
A star in the sky, or a bird on the wing,
Or all of God’s angels in heav’n for to sing,
He surely could have it, ’cause he was the King.

In other words, Christ could have had anything, but what he chose was to be born as a man, and in choosing this, he chose to die. The “wonder” of the song is discerned in the startling revelation that the reason for the Lord’s decision to be “born for to die” was because of us. He did this all for us- not because he had to, but because we needed him to do it, an act of generosity that is made even more mysterious by the fact that there was nothing all that special about us that would have made us deserving of such generosity. Being high and mighty is really an illusion. We all are, as the song says, “poor ordinary people.”
. . .
The best of Christmas carols, which express not only the mystery of Christ’s holy birth, but also the total event of the Incarnation, are remarkably devoid of the sentimentality that has become synonymous with so many songs associated with the Christmas season. In respect to their theology, these carols are often extensions of the kinds of insights that one comes across in the Fathers of the Church who were able to correlate the events of Christ’s nativity to the Paschal Mystery; the wood of the stable foreshadows the wood of the cross and the swaddling clothes represent his burial shroud. We do not arrive at the scene of Christ’s birth and discover an event that can be abstracted from the rest of his revelation- what is presented to us in Bethlehem mysteriously contains within itself the events of Golgotha.

The Crib and the Cross

Christmas 2015

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