The story resumes...
It's been a few weeks, but today I get back to my series "The Way Mike Worked," based on the Smithsonian-sponsored exhibit "The Way We Worked," featured in the Cheyenne library this fall. I've been busy with my novel and some free-lance writing assignments. These later chapters of my saga also take some research, as they deal with my time as an arts bureaucrat at the Wyoming Arts Council and the National Endowment for the Arts. I lived the first four decades of my life clueless about the world of arts administration. For the ensuing 27 years, I lived and worked in that world. I'm still active as a volunteer. My hope is that we all will get a chance to promote the arts in our communities. Taking an active role in creativity may save us all. It may not, but we will have a much better time along the way.
On that day in D.C., I witnessed history.
On Tuesday, September 27, 1994, Rep. Newt Gingrich assembled 300 Republican
candidates for a photo op in front of the U.S. Capitol. The occasion was the
signing of the Contract with America, a document designed by Newt that featured
10 bills that Republicans hoped to pass once the 1994 Mid-term Red Wave led to
a Republican majority.
I was just starting my second year in D.C. and still a new hand at
inside-the-beltway politics. Did I have a gut feeling that Gingrich's contract
would change my life? Not really. Curiosity moved me. That, and a request from
my National Endowment for the Arts (NEA) boss that it would be good to keep an eye on Gingrich and his pals as we
closed in on the November mid-term election.
That day, I skipped my usual Metro Station stop that led to a two-block walk to NEA offices in the Old Post Office, now a Trump Hotel. I rode all the way to Union Station to
take in the event. Republicans had been promoting the gathering for weeks and I was curious. I
also had a feeling that it would affect my stint at the NEA. Newt had waged war
on Democratic Party policies since his election to Congress in 1979. He had
been active in the culture wars, a vanguard in the Religious Right's fight
against the NEA, NEH, sacrilegious art, naked art, hip-hop -- any creative
strain within 1990s America that threatened The Word in the Bible and U.S.
supremacy in the secular world. Not exactly the opening salvo in the struggle
but one that would steer politics right into the Trump era.
In late September, D.C.'s oppressive summer bubble of heat and humidity was
just beginning to release its grip. But that day at the Capitol, a Republican
fever dream was being born in Newt's image.
On this day, Newt launched a war against Democratic Party policies. Total war,
akin to Sherman's March through Georgia, which Newt wrote about in one of his
novels that I never read. A continuation of Nixon's Southern Strategy, which
convinced Southern whites that Republicans were on God's side and Democrats had
forged an evil alliance with ethnic minorities, feminists, gays, and
college-educated pacifists. It wasn't just that Dem policies were misguided and
needed correcting. It was that the Dems were the enemy and needed to be
crushed. It was like a Newt Gingrich alternative history. Except it was real
and, like the Civil War, had lasting consequences.
Newt wasn't content with writing alternative histories. He actually wanted to
make history. Whatever the subject, Newt wrote a book. He's written 18 non-fiction
titles. He's authored or co-authored at least a dozen fiction titles. You have
to hand it to him. Hatching an idea, writing, revising, finishing, publishing
and promoting -- the writer's life is not for the meek. Newt had a platform,
still does if you look at the plethora of new titles. It is clear he had a
vision and he could write. This one-two punch proved dangerous for the liberal
agenda. It was a gift to conservatives waging the culture wars.
As Newt bragged at that 1994 event:“Today, on these steps, we offer this
contract as a first step towards renewing American civilization."
What did you do in the culture wars, daddy?
I am a veteran of the culture wars. I don't have any medals and I don't brag
about my service. I'm a survivor, which is something to be proud of. For 25
years, I worked to nurture the arts on the local, state, regional and national
level. It was fun and heart-breaking. I'm here to tell the story.
What, exactly, are the culture wars? The most significant battle on the
national front was waged over explicit photographs of nude gay men and a photo
of a crucifix soaked (allegedly) in a container filled with an artist's urine.
The NEA helped fund a grant that funded the Robert Mapplethorpe photo exhibit
at DC.'s Corcoran Gallery. The crucifix art, "Piss Christ", won the
Southeastern Center for Contemporary Art "Awards for Artists," also
funded by the NEA. Hysterical press coverage followed and evangelical
yokels such as Sen. Jesse Helms and Moral Majority's Jerry Falwell
stirred up their followers with tales of blasphemy and obscenity and misuse of
taxpayer dollars because, as you know, the national arts budget is so bloated
that it puts the defense budget to shame.
Pause for laughter.
Meanwhile, the NEA found itself in the middle of a lawsuit when it yanked
fellowships of four artists for their ostensibly offensive art. All of
these offending artists were linked with Satan and all of the Coastal
Elites. Pres. Clinton, an evangelical from Arkansas raised by a single mother,
was somehow one of those elites. The Republicans aimed to sabotage every one of
his programs. This wasn't the first time a combative Congress took on the
opposition's sitting president. But it led to all the battles yet to
come.
When confronted with an African-American Democrat as president (a guy who made
good the hard way), Republican leaders vowed that none of his programs would
become the law of the land. What they failed to obliterate then, they now put
in the ruinous hands of the current benighted resident of the Oval Office. The
battle will now be joined by the new Democratic majority in the House. Let's
hope that the Democrats' tendency for appeasement has been replaced by a need
to kick ass and take names. There are some encouraging signs, such as Rep.
Pelosi taking Trump to the woodshed this week over the government shutdown.
Let's get back to Newt. His goal was to destroy the NEA and the National
Endowment for the Humanities (NEH) and the Museum and Library Services Office
(MLS), all part of the same funding bill. That was not as easy as it sounded.
Newt, in fact, ran into what other conservatives have discovered over the years,
that Republicans support the arts and many have children who are schooled in
the arts and grow up to become artists, arts consumers, even arts patrons. They
have museums and performing arts centers named after them. They weren't so sure
that depriving their city's symphony/art museum/ballet of tax dollars was the
proper thing to do. They appealed to their moderate Republican Congresspeople
(there were moderate Republicans back then) to teach the Democrats a lesson but
don't go overboard for goodness sake.
Newt was faced with a problem. How to satisfy the newly-elected rural-state
rabble-rousers and their urban and suburban counterparts who had all of the
money. Cuts came, as did compromises. The Right liked the fact that the 1996
federal budget cut funding for the arts almost in half and eliminated
troublesome fellowships in visual and performing arts. Newt could declare
victory and his colleagues could brag about their success out in the
hinterlands. And get re-elected in '96.
It led to my early departure from the NEA and a return to my job in Wyoming. It
also had other results that were less well-known. The survival of the literary
fellowships. That's a story in itself and worth another post. But first, I have
to go back 20-some years and do some research. I like research, although
sometimes its tentacles grab me and won't let go..
Next chapter: Newt Gingrich, the writer's friend?