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    The genteel, silver-tongued thinker who fathered US conservatism – and paved the way for Trump

    Back when the “public intellectual” was still a thriving species in America, the conservative writer William F Buckley Jr was one of the most famous – of any political stripe.On the PBS television show Firing Line, which he hosted weekly until 1999, he debated or interviewed people ranging from ardent rightwingers to black nationalists. In between, he edited the magazine National Review, wrote three columns a week, wrote or dictated hundreds of letters a month, and was known to dash off a book while on vacation. He was photographed working at a typewriter in the back of a limousine as a dog looked on. In Aladdin (1992), Robin Williams’s genie does Buckley as one of his impressions.Buckley’s extraordinary energy is captured in a sweeping new biography that also uses its subject to tell a larger story of the American right. “As far as I’m concerned, he invented politics as cultural warfare, and that’s what we’re seeing now,” the writer Sam Tanenhaus said.View image in fullscreenTanenhaus spent nearly three decades researching an authorized biography that was published on Tuesday, titled Buckley: The Life and Revolution that Changed America.Buckley is often remembered as the architect of the modern conservative movement. For decades he worked to unite anti-communists, free marketeers and social conservatives into the coalition behind the Reagan revolution. Yet today, almost two decades since Buckley’s death in 2008, the conservative landscape looks different. Free trade is out, economic protectionism is in. The Republican party’s base of support, once the most educated and affluent, is now increasingly working-class.Even as Donald Trump remakes the right in his own image, however, Tanenhaus sees Buckley’s thumbprints.One of the biggest is Trumpism’s suspicion of intellectual elites. Although Buckley was a blue blood and loved the company of artists and literary people, he memorably said that he would “sooner live in a society governed by the first 2,000 names in the Boston telephone directory than in a society governed by the 2,000 faculty members of Harvard University”. His first book, in 1951, accused professors of indoctrinating students with liberal and secularist ideas – more than half a century before the Trump administration’s bruising attempts to pressure Ivy League universities into political fealty.Tanenhaus, the former editor of the New York Times Book Review, spoke to me by video call from his house in Connecticut. He is a gregarious and funny conversationalist. At one point, he paused a digression about Joan Didion to observe: “Wow. There’s a vulture in my backyard. For God’s sake.” He said he looked forward to reading my piece about him, “unless you’re saying bad stuff about me. Then send it to me and say: ‘My editors made me write this.’”Our free-flowing, one-and-half-hour conversation gave me some sense of why Tanenhaus’s biography took so long to write. It also made me better understand how the conservative Buckley was charmed into the decision to allow a self-described “lifelong unregistered liberal Democrat” unfettered access to his papers, and to give that person the final – or at least most comprehensive – word on his life.The outcome is a lively, balanced and deeply researched book. At more than 1,000 pages, including end matter, the hardback is an engrossing, if occasionally wrist-straining, read.View image in fullscreenTanenhaus was born in 1955, three weeks before Buckley published the first issue of National Review. Writing the book, he said, often felt like a kind of “reconstructive journalism” where he relived history that he had experienced but never considered in its context. As a liberal and an “unobservant, ignorant, secular Jew”, he also had to try to understand someone with whom he had little in common, politically or culturally.Although Buckley’s views on some subjects evolved over time, “he was pretty and firmly entrenched with two foundational ideas,” Tanenhaus said. “One was Catholicism, which was the most important thing in his life. The second was a kind of evangelical capitalism.”Unlike many of his mentors and allies, who tended to be ex-Marxists or ex-liberals, Buckley was not an ideological convert. His father, a wealthy, devoutly Catholic and rightwing oilman from Texas who raised his large family in Connecticut and across Europe, loomed large over his early life.Buckley and his nine siblings were desperate to impress their father. He was loving to his family and also racist, in a “genteel Bourbon” way, and antisemitic, in a more vitriolic way. In 1937, when Buckley was 11, his older siblings burned a cross in front of a Jewish resort. He later recounted the story with embarrassment but argued that his siblings did not understand the gravity of what they were doing.Although Buckley came to make a real effort to purge the right of racist, antisemitic and fringe elements, Tanenhaus thinks his upbringing held sway longer than most people realize. One of the most interesting sections of the book concerns Camden, South Carolina, where Buckley’s parents had a home. In the 1950s the town became notorious for violence against black people and white liberals.View image in fullscreenDuring his research, Tanenhaus discovered that the Buckleys – who were considered by their black domestic workers to be unusually kind relative to the white people of the area – also funded the town’s pro-segregation paper and had ties to a local white supremacist group. After a spate of racist attacks in Camden, Buckley wrote a piece in National Review condemning the violence, but not segregation itself. He defended segregation on the grounds that white people were, for the time being, the culturally “superior” race.Buckley’s views on race began to change in the 1960s. He was horrified by the Birmingham church bombing that killed four little girls. During his unsuccessful third-party campaign for mayor of New York in 1965, he surprised both conservatives and liberals by endorsing affirmative action. In 1970 he argued that within a decade the United States might have a black president and that this event would be a “welcome tonic”.Despite his patrician manner and distinct accent, Buckley had a savvy understanding of the power of mass media and technology. National Review was never read by a wide audience, but Buckley and his conservative vanguard fully embraced radio, television and other media. A technophile, he was one of the first to adopt MCI mail, an early version of email. Tanenhaus thinks he would thrive in the age of Twitter and podcasts.Yet the current era feels a world away in other respects. For one, Buckley’s politics rarely affected his many friendships. “His best friends were liberals,” Tanenhaus said. He greatly admired Jesse Jackson. It was not strange for Eldridge Cleaver, the black nationalist, and Timothy Leary, the psychonaut, to stop by his house.Buckley was deeply embarrassed by the notorious 1968 incident in which Gore Vidal called him a “crypto-Nazi”, on-air, and Buckley responded by calling Vidal an alcoholic “queer” and threatening to punch him. It was an exception to a code of conduct that Buckley generally tried to live by.“If he became your friend, and then you told him you joined the Communist party, he would say: ‘That is the worst thing you can do, I’m shocked you would do it, but you’re still coming over for dinner tomorrow, right?’” Tanenhaus laughed. “It’s just a different worldview, and we don’t get it because we take ourselves more seriously than he did.”Being the authorized biographer of a living person entails a special relationship. You become intimately familiar with your subject – perhaps even good friends, as Tanenhaus and his wife did with Buckley and his socialite wife, Pat. Yet you also need critical distance to write honestly.It was impossible to finish the book “while he was still alive”, Tanenhaus said. He realized in retrospect that Buckley’s death was “the only way that I could gain the perspective I needed, the distance from him and the events that he played an important part in, to be able to wrap my arms around them”.He thinks Buckley also understood that a true biography would be a full and frank accounting of his life. “I think that, in some way, he wanted someone to come along and maybe understand things he didn’t understand about himself.”Despite his disagreements with Buckley’s politics, Tanenhaus was ultimately left with a positive assessment of him as a person. “He had a warmth and generosity that are uncommon. When you’re a journalist, part of your business is interacting in some way with the great, and the great always remind you that you’re not one of them. They have no interest in you. They never ask you about yourself. Buckley was not like that.”He is not sure what he would have made of Trump. Buckley was willing to criticize the right, and was an early critic of the Iraq war, Tanenhaus said. Yet “conservatives can always find a way to say: ‘Whatever our side is doing, the other side is worse.’”View image in fullscreenThis is Tanenhaus’s third book about conservatism. I asked what he thinks the left most misunderstands about the right.He instantly responded: “They don’t understand how closely the right has been studying them all these years.” He noted that Buckley surrounded himself with ex-leftists and that he and other conservatives made a point of reading left and liberal books and studying their tactics of political organizing.But that doesn’t seem to go the opposite direction. Leftists and liberals “don’t see that the other side should be listened to, that there’s anything to learn from them. And they think, no matter how few of them there are, that they’re always in the majority.”Buckley once said that his “idea of a counter-revolution is one in which we overturn the view of society that came out of the New Deal”, Tanenhaus said. Today, Trump is aggressively moving, with mixed success, to roll back the federal administrative state – a vestige of Buckley’s vision of unfettered capitalism, even if Trump’s other economic views aren’t exactly Buckley’s.“It would not be far-fetched to say we are now seeing the fulfillment of what he had in mind,” Tanenhaus said. More

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    Brad Holland, Subversive Artist Who Reinvented American Illustration, Dies at 81

    Brad Holland, an idiosyncratic artist who upended American illustration in the 1970s with his startling imagery for Playboy magazine and The New York Times’s opinion page, spawning a generation of imitators, died on March 27 in Manhattan. He was 81.His brother, Thomas Holland, said he died in a hospital from complications of heart surgery.Mr. Holland was in his late 20s and contributing to Playboy and a few of New York City’s underground papers, including The New York Review of Sex and Politics and The East Village Other, when he was invited to be part of an experiment at The New York Times.In 1970, the paper had introduced what it called an Op-Ed page — the name referred to its placement opposite the editorial page — as a forum for essays and ideas. The art director of this new page, Jean-Claude Suares, was another veteran of the underground presses; while working at The Times, he was also designing Screw magazine.For The Times, Mr. Suares wanted to commission standout art to accompany the writing, but he didn’t want to illustrate the themes of the articles literally. He was an admirer of Mr. Holland’s work and recruited him, along with other notable insurgents, including Ralph Steadman, the British caricaturist who had been illustrating Hunter Thompson’s gonzo adventures, and a coterie of European political cartoonists.One of three illustrations for a 1968 essay by P.G. Wodehouse, “The Lost Art of Domestic Service,” that were Mr. Holland’s first assignment for Playboy magazine. He would work for the magazine for a quarter-century.Brad Holland/Artists Rights Society (ARS), New YorkMr. Holland had already attracted attention with the gorgeous rococo images he made to illustrate Playboy’s “Ribald Classics,” a series that reprinted erotic stories by the likes of Ovid, Jonathan Swift and Mark Twain. His work could be surreal, grotesque and beautiful, and it was often inscrutable. It recalled the satirical engravings of the 19th-century caricaturist Thomas Nast and the more terrifying paintings of Francisco Goya.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Reinaldo Herrera, Arbiter of Style for Vanity Fair, Dies at 91

    Both old school and Old World and married to a celebrated fashion designer, he helped define Manhattan’s high life for many years.Reinaldo Herrera, a dapper Venezuelan aristocrat, married to the fashion designer Carolina Herrera, whose social connections made him an indispensable story wrangler and all-around fixer for Vanity Fair magazine, where he served as a contributing editor for more than three decades, died on March 18 in Manhattan. He was 91.His daughter Patricia Lansing confirmed the death.Mr. Herrera was born into South American nobility and grew up between Caracas, Paris and New York. After attending Harvard and Georgetown Universities and working as a television presenter for a morning show in Venezuela, he joined Europe’s emerging jet set, mingling with Rothchilds and Agnellis, Italian nobles and British royals.Princess Margaret, Queen Elizabeth II’s sister, was a pal. He dated Ava Gardner and Tina Onassis, the first wife of the Greek shipping magnate Aristotle, and in 1968 he married his younger sister’s best friend, Maria Carolina Josefina Pacanins.He was old school and Old World. He wore bespoke suits with immaculate pocket squares; his jeans were always crisply pressed. His manners were impeccable. He spoke classical French without an accent. Graydon Carter, a former editor of Vanity Fair, described his voice as a combination of Charles Boyer, the suave French actor, and Count von Count, the numbers-obsessed Muppet.Mr. Herrera with his wife, the fashion designer Carolina Herrera, in 1983.Cathy Blaivas/WWD — Penske Media, via Getty ImagesBy the late 1970s, the Herreras were part of the frothy mix that defined Manhattan society at the time — the socialites, financiers, walkers and rock stars, along with a smattering of politicians, authors and artists, who dined on and off Park Avenue and danced at Studio 54. (Steve Rubell, the club’s rambunctious co-owner, used to slip quaaludes into Mr. Herrera’s jacket pockets; Mr. Herrera, who loved a party but not those disco enhancements, would throw them out when he got home.) Robert Mapplethorpe photographed the couple for Interview magazine, Andy Warhol’s monthly chronicle of that world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Robert E. Ginna Jr., Whose Article Bolstered U.F.O. Claims, Dies at 99

    A founding editor of People, he also served as editor in chief of Little, Brown and produced films. But his public image was defined by a 1952 story for Life.Robert E. Ginna Jr., a founding editor of People magazine, a book editor and a film producer whose 1952 Life magazine article provoked a frenzy by validating the idea that flying saucers might exist and could have visited Earth from outer space, died on March 4 at his home in Sag Harbor, N.Y.His death was confirmed by his son, Peter St. John Ginna. He was 99.Mr. Ginna (pronounced gun-NAY) enjoyed a wide-ranging, eight-decade career. As the editor in chief of Little, Brown, he persuaded the acclaimed novelist James Salter to shift from screenplays to books and discovered Dr. Robin Cook as an author of thrillers. He also produced movies and was part of the team that started People as a highbrow showcase for profiles of cultural figures like Graham Greene and Vladimir Nabokov, but quit when the magazine descended into what he viewed as celebrity fluff.To the general public, though, he was perhaps best known for an article he wrote with H.B. Darrach Jr. for the April 7, 1952, issue of Life magazine. The cover featured an alluring photograph of Marilyn Monroe under the headline “There Is a Case for Interplanetary Saucers.”The April 7, 1952, issue of Life magazine featured a seductive photo of Marilyn Monroe juxtaposed with the now-infamous headline “There Is a Case for Interplanetary Saucers.”Philippe Halsman/Life Magazine, via Magnum PhotosTo Mr. Ginna’s eternal dismay, the article made him a target for U.F.O. buffs and kooks. Headlined “Have We Visitors From Space?,” it examined 10 reports of unidentified flying object sightings, followed by an unequivocal assessment from the German rocket expert Walther Riedel: “I am completely convinced that they have an out-of-world basis.”While reports of U.F.O.s in the late 1940s were often trivialized, Phillip J. Hutchison and Herbert J. Strentz wrote in American Journalism in 2019: “By the early 1950s, however, more substantial human-interest features embraced the idea that U.F.O. reports might correspond to extraterrestrial Earth visitors. A widely cited April 7, 1952, Life magazine feature titled ‘Have We Visitors From Space?’ represents one of the most influential examples of the latter trend.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Confirm or Deny: Graydon Carter Edition

    A king of the glossy-magazine era sits for a lightning-round interview.Maureen Dowd: Annie Leibovitz took your passport photo.Graydon Carter: She took my passport photo.You were told to sod off by James Bond.Confirm! One year I invited all the men who played James Bond to the Oscar party. For one reason or another, all but one were either working or unavailable. We got George Lazenby, who had appeared in the pre-Sean Connery era in “On Her Majesty’s Secret Service.” I spotted him at the bar by himself. I went over and introduced myself. He just looked straight ahead and then turned and in the sort of fragrant language not generally permitted in a high class newspaper, told me to buzz off.When you were at Time — and single — you wrote fun tidbits for the “People” page, and you had a romantic encounter with the young woman who wrote Newsweek’s version of the people page, called “Newsmakers.”No comment.The two funniest non-comedians you’ve ever met are George Clooney and Anderson Cooper.In both cases, they were so funny that I had to tell them to stop because I thought my trachea would break.When a New York Times push alert announced the news of your departure from Vanity Fair, multiple friends later told you that seeing your name pop up on their phone, they assumed it was because you died.Yes, and for some of them, it put a spring in their step.Anna Wintour should retire.Absolutely not. I think she can go on for decades.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Book Review: ‘When the Going Was Good,’ by Graydon Carter

    The former Vanity Fair editor reflects on an era’s power moves and expense-account adventures in a new memoir.WHEN THE GOING WAS GOOD: An Editor’s Adventures During the Last Golden Age of Magazines, by Graydon Carter, with James FoxLorne. Graydon. Keith. Three abiding kings of New York City’s cultural life are the subjects of new books. Lorne is Lorne Michaels, the creator of “Saturday Night Live,” who is examined under the stereo microscope that is Susan Morrison’s biography, “Lorne.” Graydon is Graydon Carter, a co-founder of the stinging magazine Spy in the 1980s and the editor of Vanity Fair during its plumpest and happiest decades, whose memoir is our topic today. Keith is Keith McNally, the proprietor of that consummate French bistro Balthazar — which is so well run, so well lit and so well victualed that surely one idea of a good death is to deliquesce in one of its red leather banquettes — who has a memoir out soon.Lorne is 80; Graydon, 75; Keith, 73. Each is still very much in the game. But to have these books in a clump on my coffee table has given me an Auld Lang Syne-ish feeling. An era is approaching its end.Carter’s memoir, “When the Going Was Good,” runs on two overlapping tracks. It’s the story of an underdog — the hockey-playing, Canadian-born son of an air force pilot — who morphs into a crisply dressed and flamboyantly maned overdog. It is, figuratively, the story of a young man who walks into Gotham barefoot and leaves, whistling, owning the keys to one of its castles.A class journey is described as well. The consumption grows conspicuous and conspicuouser. Thorstein Veblen’s eyes would pinwheel. By the second half, Carter can’t seem to get out of a paragraph without mentioning his possession of the perfect apartment, or vintage car, or bespoke suit, or excursion, or hotel suite, or weekend house, or restaurant table, or friend (Fran Lebowitz), or pajamas or fishing camp.D.H. Lawrence held a class animus against the Bloomsbury group; Pauline Kael distrusted the high-living Joan Didion. Paul Theroux called luxury the enemy of observation. This is another way of saying that Carter’s book will make some readers itchy. I quickly and (mostly) happily consumed it anyway. The journalism stories and the character analysis, as Elizabeth Hardwick liked to call gossip, are first-rate.Let us get three drawbacks out of the way. 1) Although Carter wrote “When the Going Was Good” with James Fox, a co-author of Keith Richards’s electric memoir, the prose is basic. Anyone who comes in hoping for a tincture of the old Spy style — ironic, wised-up, dense with intellect and allusion — will be disappointed. 2) Carter is not one for introspection. There are no “Rosebud” moments. 3) He doesn’t talk about his signature, wide-winged, George Washington-esque hair, with its Nike whoosh up the center.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    James Ledbetter, Media Critic and Business Journalist, Dies at 60

    He wrote the Press Clips column for The Village Voice, held top jobs at Inc. magazine and Slate, and wrote a book about how the startup magazine The Industry Standard fizzled.James Ledbetter, a former media critic who wrote the Press Clips column for The Village Voice in the 1990s, led Inc. magazine as its editor in chief and started an online financial technology newsletter, died on Monday at his home in Manhattan. He was 60.His sister Kathleen Ledbetter Rishel confirmed the death but declined to specify the cause.At The Village Voice, where Alexander Cockburn had originated Press Clips, Mr. Ledbetter was a keen observer of local and national news media.“Week after week, perhaps no one tops James Ledbetter’s razor-sharp dissection of the nation’s print media,” Seth Rogovoy of The Berkshire Eagle in Massachusetts wrote in 1995.Michael Tomasky, the editor The New Republic and a friend, said Mr. Ledbetter “was a voracious reader of the tabloids, all four of them at the same time,” adding, “He wrote Press Clips at a time when media criticism exploded into an industry.”In a column about The New York Post in 1998, Mr. Ledbetter castigated New York State for approving a $12.9-million economic development grant to the newspaper to keep it from moving to New Jersey.“Why, taxpayers want to know, should part of our hard-earned paychecks pamper the pockets of the paper that’s always complaining about everyone else’s welfare check?” he wrote. “Especially since that paper is owned by billionaire Rupert Murdoch?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Dan Morgenstern, Chronicler and Friend of Jazz, Dies at 94

    He wrote prolifically about the music and played an important role in documenting its history, especially in his many years with the Institute of Jazz Studies.Dan Morgenstern, a revered jazz journalist, teacher and historian and one of the last jazz scholars to have known the giants of jazz he wrote about as both a friend and a chronicler, died on Saturday in Manhattan. He was 94.His son Josh said his death, in a hospital, was caused by heart failure.Mr. Morgenstern was a jazz writer uniquely embraced by jazz musicians — a nonmusician who captured their sounds in unpretentious prose, amplified with sweeping and encyclopedic historical context.He was known for his low-key manner and humility, but his accomplishments as a jazz scholar were larger than life.He contributed thousands of articles to magazines, newspapers and journals, and he served the venerable Metronome magazine as its last editor in chief and Jazz magazine (later Jazz & Pop) as its first. He reviewed live jazz for The New York Post and records for The Chicago Sun-Times, as well as publishing 148 record reviews while an editor at DownBeat, including a stint from 1967 to 1973 as the magazine’s chief editor.His incisive liner-note essays won eight Grammy Awards. He was named a National Endowment for the Arts Jazz Master in 2007 and received three Deems Taylor Awards for excellence in music writing from the American Society of Composers, Authors and Publishers, two of them for his books “Jazz People” (1976) and “Living With Jazz” (2004). He was involved — as a writer, adviser, music consultant and occasional onscreen authority — in more than a dozen jazz documentaries. Most decisively, he served from 1976 to 2011 as the director of the Institute of Jazz Studies at Rutgers University-Newark, elevating the institute into the largest repository of jazz documents, recordings and memorabilia in the world.“I don’t like the word ‘critic’ very much,” Mr. Morgenstern often maintained. “I look at myself more as an advocate for the music than as a critic,” he wrote in “Living With Jazz.” “My most enthusiastic early readers were my musician friends, and one thing led to another. What has served me best, I hope, is that I learned about the music not from books but from the people who created it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More