
An editor of
National Review, of all people, is moaning about
talk radio ruining the right. In other words, the dumbed down, culture-free, newspaper-quality, middlebrow
National Review represents a standard to which lowbrow talk radio should aspire.
I was reading a back issue of
Modern Age this weekend, marvelling at its eternal excellence while lost in a piece about Germany's biedermeier literature - literature I last enjoyed as a teenager and with which I associate many happy memories.
There was a day when a shorter version of the same piece might have appeared in the NR. No more: Buckley's creation has relentlessly moved downmarket. "Don't let
them immanentize the eschaton," once NR's proud rallying cry is mere gibberish to the middlebrows cranking out a short ration of two-syllable analysis for what must surely be the upper tier of talk radio listeners.
In that they are much less adept than say Rush Limbaugh who harnesses not merely verbal skills but an admirable literary sensibility to his enormous analytic capacity. He does this live, in real time, putting out the same "product" as NR but of a higher quality, more copiously, and cheaper.
This comparison is apples-to-apples despite what any of today's NR editors may think. The editors currently in charge have made of NR a single product company and their product competes with talk radio. It competes poorly, in fact, because Rush and the better talkers understand their medium much better than NR understands print magazines.
Have you ever picked up a copy of the venerable
Spectator? I don't mean the
American Spectator (which should out of decency revert to its original name of
the Alternative), I mean Britain's
Spectator. Just look at the ads to understand the difference in audiences. Gallery reviews; composed music; serious books discussed seriously.
Recently,
Standpoint appeared on American newsstands, an excellent new British conservative magazine that the American conservative political movement would find baffling and esoteric. (I'll devote a little space to it soon.)
National Review consciously engineered a downward shift in its appeal to a wider audience. This happened just as Rush appeared on the scene. There should be enough institutional memory at NR to recall there is a conservative highbrow market as surely as there is a lowbrow market and that NR itself is splitting the difference, not out of choice, but because it is staffed by people of limited culture and insight who do not understand their own medium, much less others'.