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" "You cannot step a foot into the literature about the 1960s without being told how 'creative', 'idealistic', and 'loving' it was, especially in comparison to the 1950s. In fact, the counterculture of the Sixties represented the triumph of what the art critic Harold Rosenberg famously called the 'herd of the independent minds'. Its so-called creativity consisted in continually recirculating a small number of radical cliches; its idealism was little more than irresponsible utopianism; and its crusading for 'love' was largely a blind for hedonistic self-indulgence.
Roger Kimball (born 1953) is an American art critic and conservative social commentator. He is the editor and publisher of The New Criterion and the publisher of Encounter Books.
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The notion that some works are better and more important than others; that some works exert a special claim on our attention; that "being educated" requires a thoughtful acquaintance with these works and an ability to discriminate between greater and lesser-all this is anathema to the forces arrayed against the traditional understanding of the humanities. The very idea that the works of Shakespeare (for example) might be indisputably greater than the collected cartoons of Bugs Bunny is often rejected as "antidemocratic" and "elitist," an imposition on the freedom and political interests of various groups.
We - the industrialized, technologized world - have never been richer. And yet to an extraordinary extent we in the West continue to inhabit a moral and cultural universe shaped by the hedonistic imperatives and radical ideals of the Sixties. Culturally, morally the world we inhabit is increasingly a trash world: addicted to sensation, besieged everywhere by the cacophonous, mind-numbing din of rock music, saturated with pornography, in thrall to the lowest common denominator wherever questions of taste, manners or intellectual delicacy are concerned. Marwick was right: 'The cultural revolution, in short, had continuous, uninterrupted, and lasting consequences'.