Kelly on the King of Cool..............

A quick consultation with the Oracle Google did not turn up this short essay from Michael Kelly.  Easily enough corrected, he thought. I love the way Kelly strings words and thoughts together.  I am also liking his propensity to think about things differently.  Devotees of Sinatra may want to skip this and go to the next post.  Well, that's probably not correct.  Devotees of Sinatra will probably sense the truth quicker.  Enjoy.

Do not blame it on the bossa nova.  Not on rock-and-roll nor soul nor jazz nor rhythm and blues.  It wasn't Elvis or the Beatles or the Rolling Stones.  It wasn't Washington or Hollywood or the Upper West Side.  It wasn't Ted Kennedy and it wasn't Richard Nixon.  It wasn't the Years of Rage or the Me Decade or the Decade of Greed.  It wasn't the Commies or the Beats, or the hippies or the yippies. or the Panthers or the druggies, or the yuppies or the buppies, or the NIMBYs or the DINKS, or even the ACLU.
    No, if you want to finger any one person, place, or thing for what went wrong with America, you need look no further than that accidental one-man validation of the great-man theory of history, Francis Albert Sinatra, 1915-1998.  Yes - The Voice, the Chairman of the Board, Old Blue Eyes, the leader of the (rat) pack, the swinger in chief - he's the culprit.  It's all Frankie's fault.
     American popular culture - which is more and more the only culture America has, which is more and more the only culture anyone else in the world has (we live, as the gormless Al Gore keeps chirpily  and horrifyingly reminding us, in a global village) - may be divided into two absolutely distinct ages:  Before Frank and After Frank.
     Sinatra, as every obit observed, was the first true modern pop idol, inspiring in the 1940's the sort of mass adulation that was to become a familiar phenomenon in the 50's and 60's.  One man, strolling  onto the set at precisely the right moment in the youth of the Entertainment Age, made himself the prototype of the age's essential figure:  the iconic celebrity.    The iconic celebrity is the result of the central confusion of the age, which is that people possessed of creative or artistic gifts are somehow teacher - role models - in matters of personal conduct.  The iconic celebrity is idolized - and obsessively studied and massively imitated - not merely for the creation of art but for the creation of public self, for the confection of affect and biography that the artist projects one the national scene.
     And what Frank Sinatra projected was:  cool.  And here is where the damage was done.  Frank invented cool, and everyone followed Frank, and everything has been going to hell ever since.
     In America, B.F. there was no cool.  There was smart (as in the smart set), and there was urbane, and sophisticated, and fast and hip; but these things were not the same as cool. The pre-Frank hip guy, the model of aesthetic and moral superiority to which men aspired, is the American male of the 1930's and 1940's.  He is Humphrey Bogart in The Big Sleep or Casablanca or Archie Goodwin in Rex Stout's Nero Wolfe novels.  He possesses an outward cynicism, but this is understood to be merely clothing; at his core, he is square.  He fights a lot, generally on the side of the underdog.  He is willing to die for his beliefs, and his beliefs are, although he takes pains to hide it, old-fashioned.  He believes in truth, justice, the American way, and love.  He is on the side of the law, except when the law is crooked.  He is not taken in by jingoism, but he is himself a patriot; when there is a war, he goes to it.  He is, after his fashion, a gentleman and, in a quite modern manner, a sexual egalitarian.  He is forthright, contemptuous of dishonesty in all its forms, from posing to lying.  He confronts his enemies openly and fairly, even if he might lose.  He is honorable and virtuous.  He might be world-weary, but he is not ironic.
     The new cool man that Sinatra defined was a very different creature.  Cool said old values were for suckers.  Cool was looking out for number one always.  Cool didn't get mad; it got even.  Cool didn't go to war:  Saps went to war, and anyway, cool had no beliefs it was willing to die for.  Cool never, ever, got in a fight it might lose; cool had friends who could take care of that sort of thing.  Cool was a cad and boastful about it; in cool's philosophy, the lady was always a tramp, and to be treated accordingly.  Cool was not on the side of the law; cool made its own laws.  Cool was not knowing but still essentially idealistic; cool was nihilistic.  Cool was not virtuous; it reveled in vice.  Before cool, being good was still hip; after cool, only being bad was.
     Quite a legacy.  On the other hand, he sure could sing.

-Michael Kelly, King of Cool

Ed. Note:  Had to look up "gormless."  According to Websters New World College Dictionary, it means slow-witted.