The Second Great Male Renunciation

Lord Foppington, I presume.

Towards the end of the 1700s, men wised up a little. Driven by style leaders like Beau Brummell, they stopped dressing like Mardi Gras floats and snuff-guzzling fops, and started dressing like they might be good for something other than playing cards with Louis XIV. They didn’t want to look beautiful anymore. They wanted to look masculine. It was the adumbration of what we call The Suit. It was a major milepost in the history of clothing, and other things. It was called the Great Male Renunciation.

Suits are of course tumbling out of favor. Hardly anyone wears one properly, if they wear one at all anymore. People, important people even, wear remnants of one, even to important gatherings. A business suit worn without a tie is an incongruity. A business suit jacket worn over jeans is an abomination.

People claim, loudly, that it was comfort, simplicity, individualism, and egalitarianism that killed the suit for daily men’s wear, and good riddance. They’re full of merde. One of the original names for a suit of clothes was a lounge suit. A well-made suit is comfortable to wear, and motility isn’t constricted much. You’re protected from the elements in your wool carapace, and you can take the jacket on and off in private settings to regulate your temperature, too. There’s a great deal of variation in suits as well. A workman could wear a durable tweed suit jacket with a flat hat and be comfortable while doing even heavy labor.

As far as simplicity goes, modern suits have always lent simplicity to dressing yourself for brain work. You could choose your shirt from very few in the closet, your tie for a splash of color, with more subdued hues for more staid occasions. Just make sure your socks match, and you’d be done.

People think their current regimen of a dishevelish mishmash of clothes is simpler than a suit, but they’re lying to themselves, and everyone else that has to lay eyes on them. A while back, I  worked in an office that required “business casual” clothes. That’s a collared, long-sleeve shirt, a tie, slacks, and shoes. Customers occasionally visited our cubicle empire, and we didn’t want to look like mendicants if they did. The management eventually bowed to Lumbergh trends in the zeitgeist, and instituted the completely misnamed casual Fridays.

Once the memo went out, everyone (else) dressed like ragamuffins on Fridays. The men dressed garden variety badly, and the women dressed like Marseilles taproom wenches. I wore the same thing I wore the other four days of the week. This elicited complaints from my peers. They wanted me to be forced to dress badly along with them. They never understood that they were spending an inordinate amount of time wondering what to wear on casual Friday. I was spending zero. And a shirt, tie, and slacks is a perfectly comfortable way to dress. And I don’t know how to break it to you, but jeans are not even supposed to be comfortable. They were made from coarse, durable cloth that could stand up to much heavier work than the friction from an Aeron chair. Eventually I was put in charge of everybody, and I made sure casual Friday went the way of powdered wigs.

The egalitarianism I mentioned is strictly of the Animal Farm variety. The modern tech CEO wanders out on to the TED Talk stage wearing moon boot sneakers, expensive ripped jeans, a T-shirt with an incongruous slogan on it, all topped off with a suit jacket. He’s got Argentine president hair, or his head is shaved like a death row inmate. All this is supposed to make him look as casual and accessible as any clerk in his javascript empire. It’s a sad joke. He might as well be sporting a justacorps and a Restoration wig. He’ll disdainfully refer to everyone who his company owes money to as “the suits,” but that’s because he wants to act like Elaine with Mr. Peterman’s gold card, but they won’t let him. And the entire audience is dressed the same way as the CEO. So much for individualism.

The force driving the Great Male Renunciation was the desire to leave irrational, emotional, and frivolous modes of dress, comportment, and social interactions to women. Toughen up, Van Buren. Lord knows who first said, “Clothes make the man,” but he may have been standing next to a guillotine, shoving some ancien regime dude in silk hose and high heels into the Jacobin Cuisinart hole. Perhaps the quote has been truncated from, “Clothes might make the man, but we can make him shorter.”

Suits aren’t fussy garments. Cary Grant, who might have worn the most famous suit, ever, didn’t really worry much about his clothes. Suits simplify things, and project the right image for a put-together man. And they work pretty well, too, whether you’re thinking about stuff at the Plaza Hotel or running away from a cropduster.

Here’s Cary on how to dress well:

No, it isn’t only money that determines how well a man dresses—it’s personal taste. Because of the demands of my work, I’ve purchased dozens of suits over the years and they all have one attribute in common: they are in the middle of fashion. By that I mean they’re not self-consciously fashionable or far out, nor are they overly conservative or dated. In other words, the lapels are neither too wide nor too narrow, the trousers neither too tight nor too loose, the coats neither too short nor too long. I’ve worn clothes of extreme style, but only in order to dress appropriately for the type of character I played in particular films. Otherwise, simplicity, to me, has always been the essence of good taste.

Suits communicate more than seriousness to people you encounter. They’re a form of good manners. In a business suit, you are what you is, to mangle a saying while getting the meaning right. Dressing like you’re sleeping behind a dumpster while pulling in seven figures is pretty close to Marie Antoinette, Hameau de la Reine mendacity.

Cary’s style of dress made it well into the 1960s without any challengers. Until about the Beatle arrivals, men’s clothing and hairstyles were heavily influenced by the military. Makes sense. A whole generation had recently been in the military. In order to attract a mate, men wanted to look overtly masculine. A suit was just a civilian version of an officer’s uniform. Men kept their hair close cropped and neat. They were clean-shaven, and shined their shoes. If you wanted to look healthy, you’d get a suntan, a hat tip to people who did robust things outdoors.

Then came the Peacock Revolution. Men started dressing like dandies again. The British Invasion told men that they could look shaggy and still pull chicks. They started dressing like rock stars, and rock stars started dressing like women. Or more to the point, like homosexual men:

Mostly based around men incorporating feminine fashion elements such as floral prints, bright colours and complex patterns, the movement also saw the embracing of elements of fashions from Africa, Asia, the late 18th century and the queer community. The movement began around the late 1950s when John Stephen began opening boutiques on Carnaby Street, London, which advertised flamboyant and queer fashions to the mod subculture.

The denouement of this movement crashed and burned into a late seventies heap of leisure suits, fondue pots, shag carpeting, and harvest gold appliances. Luckily, in the following decade, Gordon Gekko instructed everyone to buy a decent suit, and we had an interregnum of half-decent clothing for men.

Women still dressed like clowns, wearing dresses with the hanger still in the shoulders and too much rouge, but woman basically always dress like clowns. Men should leave them to it, and worry about their own appearance.

Once the last preppie was hunted to extinction, Grunge pretty much drove a stake through the twitching corpse of men’s fashion. It’s been a long, slow degradation since then. Women are driving the bus now, because they’ve totally taken over the internet. Even though they’re still sleeping with same bad boys from down the block on the sly, they’re demanding that their significant others display the most feminine version of anything that has to do with masculinity. I’m not sure how they’re managing it, but guys have feminine beards these days. Their manbuns make them look like a tween girl at a makeup mirror. Their clothes are too tight, and instead of accentuating their physique with the cut, it makes them look like oversized toddlers. Their outfits are Slovenly Chic™. Football jerseys with the names of the men who are sleeping with their girlfriends on the back, shower shoes, sweatpants too tight to sweat in, wispy beards, tattoos that make them look like a walking Go Fish deck of cards — it’s all a disaster.

So I require… Check that! I demand a Second Great Male Renunciation! Refuse to set foot in an Abercrombie and Fitch until they’re selling shotguns, canoes, and tents again, and start equipping safaris and antarctic expeditions. Start dressing like Ernest Hemingway instead of Mariel. Wear sweatclothes to hit a heavy bag, instead of on dates. And I know this last one is going to be difficult for you to understand, but you can stop shading your eyes with the palm of your hand, and turn your baseball cap around with the bill in the front.

Do it for your self-respect. Do it for your country. Do it for the children. You know, the ones you’ll never have — if you don’t.

It’s the End of the World as We Know It

Man, apocalypse sells. I’d say that dystopia was all the rage in movies, teevee, and books, but that would be underselling it. There is no other topic. I’m an old hand at it. Long before R.E.M., we had this sort of thing:

Of course everyone tries their hand at the Nostradamus thing, and misses by a mile. It’s comical to watch things like Blade Runner and see how rainy Los Angeles was going to get. Everyone will have umbrellas with lights in the handles, and flying cars, but no one seems to have a cell phone in  the future, do they? Deckard’s putting coins in a payphone between flying car rides. In general, the bigger the budget for a movie, the farther off they get from the way things actually turned out. Smarter fictionistas place their space operas a thousand years in the future, so they can keep on with their silly versions of dystopia.

Eric Blair and Aldous Huxley pretty much covered all the ground required. We’d be amused or stomped into submission, one way or the other. Maybe both. They’re old hat, now. The new imaginary dystopias have women being forced to have babies, or men forced to sleep for a hundred years to reach the next interstellar gas station, because there’s no gas on Earth, natch. That’s a hardy perennial.

So the planet will be too hot or too cold, or both, or filled with the undead, or the recently dead, or the ancient dead, doing undead-like things. Reverse vampires will fight lizard people for control over the precious soylent green reserve. Whatever. It’s all kinda tedious.

The reason authors get the future so wrong is because they’re laboring under massive misconceptions about the present. Fruit of the poison tree, as it were. If they truly understood the way the world worked today, and went from there, they might have a shot. But women “forced to have babies” must be an amusing topic for a landlord who accepts Section 8 for their apartments. And the weather never does seem to have the gumption to wipe us all out. There was a wall of ice a mile high not too long ago where I’m typing this from. Weather never does seem to cooperate, coming or going.

Nuclear problems are a fave, of course. We’re all going to glow in the dark anytime now. We were promised atomic cataclysms morning, noon and night since Oppenheimer finally got ahold of Von Neumann on the blower and invented the things, but we ended up with Russians and Ukes riding dirt bikes at each other and using shotguns to shoot drones with hand grenades zip-tied to them. Oh well.

So I’ll put on my thinking cap, and stick my neck out. What’s dystopia going to look like? That’s easy. I don’t need a crystal ball, or even an imagination. I just need to visit a nursing home to ask the last people who can remember the 1950s in the Estados Unidos what life was like back in the day, and go from there:

Then I’ll ask them what a dystopia is gonna look like. I’m sure they’ll answer, unanimously: Dude, you’re living in it:

Be Sure To Sidestep the Little Bits of History Repeating

The word is about, there’s something evolving
Whatever may come, the world keeps revolving
They say the next big thing is here
That the revolution’s near
But to me, it seems quite clear
That it’s all just a little bit of history repeating

Oi’m ‘enery the Eighth I Yam

Waves of interest wash over the shores of Henry VIII and his bairns from time to time. It’s been mostly grrrl power entertainments lately, especially in the Elizabethan line. They’re a hard pass from me. Hell, Kenneth Branagh, who should know better, made Lizzy’s favorite playwright Shakespeare a drama queen literally, instead of just figuratively, in All Is True, the most obversely named movie I’ve ever encountered. Oh, yes, and it’s Shakespeare’s daughter who has all the talent. Ho hum.

But Henry Tudor the serial marrier is a fascinating topic, and moviemakers and teevee drones circle back to him like dogs to their recycled breakfasts. I think I’ve seen most all of them at one time or another, including old warhorses like The Private Lives of Henry VIII and Young Bess, with Charles Laughton nibbling ably at the Hampton Court scenery.

The latest (for me) assault on the topic was Wolf Hall, a decidedly uneven affair. Hack writer Hilary Mantel uses the same sort of approach to making a well-worn topic fresh that All Is True employs: it’s hard to write well, so I’ll write the polar opposite of well to get attention. I’m sort of staggered by the attempt in Wolf Hall to make Thomas Cromwell the saintly hero of the piece, and a sex machine to boot, and Thomas More the villain among a gaggle of villains. That’s quite a hill to die on after Robert Bolt has been on the case.

You can tell it’s a female take on the subject, because Tommy Cromwell is simply pursuing the deaths of umpteen men and women in a fit of pique over an oblique insult. Mark Rylance brings something fresh to the proceedings, and his subdued, nearly catatonic delivery suits the position of a court drone, scribbling away furiously and courting favor to make his way into the world of the beautiful people.  He’s supposed to be smarter than all of them, of course. But then again, the captain of the football team never cares much if you got an A in algebra. He might eventually hire you to do algebra things he can’t be bothered with, but you’re never going to be on the team.

But it’s the portrayal of Hank in Wolf Hall that really bugs me. A skinny, slopeshouldered mopey  Henry, alternatingly whispering and mumbling, goes beyond the beyonds in dramaturgy about a real person we know something about. One who looks like he’s still yelling in oil paintings of him.

So, who did it better? Who made Harry into the force onscreen that he was in real life? Let’s count down the top three, shall we?

3. Richard Burton in Anne of a Thousand Days

It was 1969, and if you needed someone to roar onscreen, Burton was your man. Peter O’Toole could yell with the best of them, but Burton could outsnarl anybody. Henry, the eighth of that name, was reportedly a charismatic dude, in addition to reminding people who was in charge by shortening them a bit when they blotted their copybooks. Burton showed an excellent hail fellow well met side to his Henry with his entourage, backslapping and joshing with everybody, but he’d turn on a dime if you crossed him.

Anne the three-year wonder has many of the usual suspects in the cast. Anthony Quayle is miscast as Wolseley, but does his best. Michael Hordern, as daddy Boleyn, steals a few scenes while selling his daughters down the Thames River. Genevieve Bujold, as Anne, gives as good as she gets, and holds her own while locked in the Panavision tiger cage with Burton, which isn’t easy. John Colicos, who was both a Klingon and a Cylon butt-buddy at one time or another, plays about the creepiest Thomas Cromwell ever.

2. Robert Shaw in A Man for All Seasons

A Man for All Seasons was a big hit in 1966. It won six Oscars, including Best Picture, screenplay, Best Actor for Paul Scofield, and it made fifteen times its production cost. The cast was uniformly excellent, and Wendy Hiller as Alice More and Robert Shaw as Hal were nominated for two more Oscars, but I guess they got tired of handing statues to good British actors and gave one to Walter Matthau, of all people, instead.

Shaw would seem to be an odd choice to play Henry, but it paid off. He showed the mercurial nature of Henry to a tee, playing the clown, the friend, the statesman, and the bully, sometimes all in the same breath. You can see Scofield’s More trying to say as little as possible, because he knew to slip up meant a hatchet haircut. It’s funny, but the clip shows Shaw raging a bit, and then calming down, trying to find the right key to More’s lock. Right after the byplay shown in the clip, Henry loses his shit completely, and they hear him two zip codes over. Scofield either acts stunned, or maybe was actually stunned, by Shaw’s outburst. That’s a Henry we can get behind. Mostly because it’s not safe to be in front of him.

1. Keith Michell in the Six Wives of Henry the Eighth

Keith Michell played young Henry, middle aged Henry, and old Henry in this six-part TV series, and was completely believable as all of them. The series is somewhat uneven, since each episode was written by a different playwright. But the unevenness only spans from good to great.It’s basically a stage play, but then again, so was A Man for All Seasons. The TV budget sets and costumes don’t distract you from the action, which is mostly of the two heads talking variety.

Michell was an unusual choice to play Henry. He styled himself a song and dance man, and there are excruciating videos of him singing things like Mack the Knife with Julie Andrews extant on the internet. He does the bowler hat and cane thing and lumbers about like Herman Munster. Who knew his potential to appear larger than life? Someone did, and he delivered the Henry all others should be measured by.

You can vote for your favorite Henry in the comments, but please, no wagering.

Nothing New Under the Sun. Or In the Cellar Hole

That’s pretty impressive. No, I’m not referring to building a house with a giant toothpaste tube full of mortar. You know, right after building a space village starship dock around the building site, and a giant factory to pre-fab anything that sticks out of the walls. When I said it was impressive, I was referring to anyone willing to move in and try to dust a concrete house with corrugated walls. Or hang a picture or something.

All the problems of construction that involve actual construction were solved decades, if not centuries ago. It’s vanishingly straightforward to build a lot of inexpensive houses quickly.

I’ve had a hand in building everything from a birdhouse to a football stadium. I’ve never had anything in my way but the government, and the occasional boulder in the cellar hole.

A monolithic pour, all concrete house is nothing new, either.

Florida’s full of concrete houses, I gather, built from CMUs (concrete blocks), which the guys in the second video no doubt could also handle just as nimbly. It’s pretty easy and fast for a few guys to build a single story house’s walls out of concrete block, and they don’t need a crane and a Cray computer to do it. I’ve done it for a wood frame house in a day or two, working along with only two other guys. And I could barely pull my weight back then.

You can always spot the “Tell” in these “new method to build a house in a day” schemes. They manage four walls in a day, or maybe two, after twenty weeks of preparation, using enough equipment to build the Hoover Dam. Then they call it “a house.” Four walls is not a house, guys. Well, I guess it’s a house, you know, except for the foundation it sits on and the utilities and the floors and the roof and the finishes and electricals and the plumbing and the HVAC, spangled with 24 building inspections, plus the occasional required bribe or gangster threat if you’re working in a city.

You can’t order a house from Amazon, built by Apple, no matter how hard you wish for it, kids. I suggest that you learn how to bang a few nails, and get busy.

Tag: history

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