Frank, Why Johnny Can't Dissent

7/23/2019 Frank, Why Johnny Can't Dissent

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CULTURAL RESISTANCEREADER

STEPHEN DUNCOMBE


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3 r 6 COMMODTTTES, CO-OPTATTON, AND CULTURE JAMMTNGmetch. LiuingJor the moment meent buying an automobile, radio or house,using it now and peylng for it tomorrow Female equality was capable ofdoubling the consumption of products - cigarettes, for example - that hadformer been used by men alone. Even changing plaee would he to stimu-late business in the country om which the artist was being expatriated.The exiles of art were also tade misionaries: involunrily they increasedthe foreign demand for fountain pens, silk stockings, grapefruit, andportable typewriters. They drew after them an invading army of tourists,thus swelling the profits of steamship lines and travel agencies. Everythingfitted into the business picture.

On more than one occasion lthe Saturday Euening Posf] announced thattheVillage was dead and buried:"The sad truth is,"it said in theAutumn ofr93r, "thet theVillage was a flop." Perhaps it was tne that theVillage wasmoribund - of that we ant be sure, for creeds and ways of life amongarriss are had to kill. If, however, theVillage was really dying, it was dyingof succes. It was dying because it became so popular thet too many peopleinsisted on living there. It was dying because women smoked cigarettes onthe streets of the Bronx, drenk gin cocktaf in Omaha and had perfecdyswell parries in Seattle and Middletown - in ot}rer words, because Ameri-can busines and the whole of rniddle-class America had been goingGreenwichVillage.Malcolm Cowley, Exle's Return:A Litnary Odyssey of the tgzos, London:Penguin Books, rg34/rg76,pp. jg{3, 5.

TI{OMAS FRANK,.wHY ToHNNY CAN'T DISSENT"ln 1929 Edward Bernays convinced a number of young, "lberated" women tomarch in NewYork City's Easter parade while smoking cigarettes. Holding dofttlese "torches of freedom," as Bernays called tem, they boldly challenged thelong-held preiudice against women smoking in public.The event caused a sensa-tion. Stories and piccures ran in newspapers across the countDr; editorials werewritten and debates ensued over the rights of women to smoke. Bernays waspleased; he had been hired to increase tlre market for LucStrikes cigarettes.lThomas Frank editor of The ffier, the journd in which t}is essay orinalappeared, uncovers this practice of marketing liberation and packaging dissent asit continues - and expands - into the pnesent day (see sidebar). ln tle course of

THOMAS FRANK, "WHY JOHNNY CAN'T DISSENT" 317entfthfor

effective a rebellion can cultunl resistance be?

Above all rebellion consists of a sort of Nietzschean antinomianism, an


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3 | 8 COMMODtTtES, CO-OPTAT|ON, AND CULTURE JAMMTNGautomatic questioning of the rules, a rejection of whatever social prescrip-cions we've happened to inherit.Just Do It is the whole of the law.The pacron sains of the countercultural idea are, of course, the Beats,whose enzied style and merry alienacion still maintain a powerfill grip onthe American imagination. Even forty years after the publication of On theRoad, the works of Kerouac, Ginsberg, and Burroughs remain the sne quaro of dissidence, the model for aspiring poets, rock stars, or indeed anyonewho feels vaguely arrisdc or alienated. That frenzied sensibility of pureexperience, life on the edge, immediate gratification, and total eedomom moral restraint, which the Beats first propounded back in those headydays when suddenly everyone could have their own TV and powerfulV-8,has stuck with us through all the intervening yean and become somethingof a permanentAmerican sryle. Go to any poery reading and you can see astring ofjunior Kerouacs go through the routine, upsetting cultural hier-achies by pushing themselves to the limit, straining for that gorgeousmoment of original vice when Allen Ginsberg first read "Howl" in 1955 andthe patriarchs of our fantasies recoiled in shock. The Gap may have sinceclaimed Ginsberg and USzl loday may run fearure stories about the bril-Iiance ofthe beloved Kerouac, but the rebel race continues today regardles,with ever-heighcening shit-references calculated to scare Jesse Helms, talkabout sex and smack that is supposed to bring the electricity of real life, andever-more determined defiance of the represive rules and mores of the.tmerican r95os - rules and mores that by now we know only om movies.But one hardly has to go to a poetry reading to see the counterculturalidea acted out. Its enzied ecstasies have long since become an ofrcial aes-theric of consumer sociery a monotheme of mass as well as adversarialculture. Trn on the TV and there it is instandy: the unending drama ofconsumer unbound and in search of an ever-heightened good cime, theinescapable rock 'n'roll soundtrack, dreadlocks and ponytaiJs boundinginto Tco Bells, a drunken, swinging-camera epiphany of tennis shoes,outlaw soda pops, and mind-bending dandruff shampoos. CorporateAmerica, it Euns out, no longer speaks in the voice of oppressive order thatit did when Ginsberg moaned in r95 that Time rnagazine was: "alwaystelling me about responsibility. Businessmen are serious. Movie producersae serious. Everybody's serious but me."Nobody wants you to think they re serious today, least of all Time'W'arner. On the contrary: the Culcure TLust is now ou leader in the Gins-bergian search for kicla upon kicls. Corporate America is not en oppressorbut a sponsor of fun, provider of lifesuyle accoulremens, facilitator of carn-ival, our slang-speaking partrer in the quest for that ever-more apocallpric

THOMAS FRANK,'WHY JOHNNY CAN'T DlssENT" 3 9orgasm.The countercultural idea has become capitelistorthodoxy, its hunger for transgression upon trans-gression now perfectly suited to an economic-culturalregime that runs on ever-faster ryclings of the new; istaste for self-frlfillment and its itolerance for the con-fines of tradition now permiing vast latiude inconsuming Practices and lifestyle e:erimentation'Consumerism is no longer ab9ut "conformity" butabout "difference." Advertising teaches us not in theways of purianical seldenial (a bizarre notion on theface of it), but in orgiastic, never-ending self-fi:lfillment'It counsels not rigid adherence to the tastes ofthe herdbut vigilant and constantly updated individualism"Weconsume not to fit in, but to Prove' on the surface atleast, that we ere rock 'n' roll rebels, each one of us asrule-breaking and hierarchy-defying as our heroes ofthe 6os, who now pitch cars, shoes and beer' Thisimperative of endless di:fference is today the genius atthe heat of ,{merican capitalism, an eternal fleeingfrom "sameness" that satiates our thist for the Newwith such achievements of civiliztion as the infinitebrands of identical cola, the myriad colon and irrepress-ible variety ofthe cigarene rack at 7-Eleven'As existential rebellion has become a more or lessoficial style of Information Age capitalism, so has thecountercultural notion of a static, repressive Establish-ment grown hopelesly obsolete. However the basicimpulses of the countercultural idea may have dis-turbed a nation lost in Cold'Wa darkness, they aretoday in fundamental agreement with the basic tenetsof Information Age business theory. So close are they,in fact, that it has become difficult to understand thecountercultural idea as anything more than the seljustifring ideology of the new bourgeoisie that hasarisen since the r96os, the cultural means by whichthis group has proven iself ever so much better skilledthan its slow-moving, security-minded forebears atadapting to the accelerated, dways-changing con-sumerism of today.The anointed culrural opponens ofcapitalism are now capitalism's ideologues'

"Nowryou too can be arioting anrarchist ...,"Associated PressTACOMA Wash. (AP) - Now Youtoo can be a notlng anarchlst - andnever leave t}re comfort ofYourlvrng room.A new vrdeo game based on the1999 World Trde Organzatonnots and protels n Seatue allowsplayers to eam Pornts bY busng aplate glass wndow Punchtng out apolce oftcer rn ot gear or attackingrnnocent bystanders.The game, "State of EmergencY"rs brlled as an "urban not game set lnthe near future, where the oPPres-sne Amencan Trade Organzatonhas declared a state of emergency. hrs up to you to smash uP everythrngand everyone n onderto destbrlzethe ATO"Rockstar Games rwealed thegame, due rn October for SonYPlayStatron Z earlerths month atthe Electrontc Entertanment Expo tnLos Angeleslt rs alreadY drawng cUosm"lf you want Your chrld to becomea vrolent anarchlsL thls ls a Sreattrarnrng game," sard State Rep' MaryLou Drckerson.Assocrated Press, MaY 29'2l


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320 COMMODTTtES, CO-OPTAT|ON,AND CULTURE JAMMTNGThe no come together in perfect slmchronization in a 6gure likeCamille Paglia, whose ravings are grounded in the absolutely noncontro-venial ideas of the golden sixties. According to Paglia,Americen business isstill exactly what it was believed to have been in that beloved decade, that

is,"puritanical and desensualized." Its great opponents are, ofcourse, liber-ated figures like "the beatnils," Bob Dylan, and the Beades. Culture is,quite simply, a binary battle benveen the represive Apollonian order ofcapitalism and the Dionysian impulses of the counterculture. Rebellionmakes no serse without repression; we must remain forever convinced ofcapitalism's fundamental hostility to pleasure in order to consume capital-ism's rebel producs as avidly we do. It comes as litde surprise when, aftercriticizing the "Apollonian capitalist machine" (in her book, Vamps anilTiamps), Paglia applauds American mass culture (in Utne Reader), the pre-eminent product of that "capilist machine," as a "third greet eruption" of aDionysian "paganism." For her, as for most other designated dissidents,there is no contradiction berween replaying the standard critique ofcapi-telist conformity and repressiveness and then endorsing is rebel products -for Paglia the car culture and Madonna - as the obvious solution: theCulture Tiust offers both Establishment end Resistance in one convenientpackage.The only question that remains is why Paglia has not yet landed anendorsement contract om a soda pop or automobile manufacturer.Other legendary exponents of the countercr:ltural idea have been morefortunate -'William S. Burroughs, for example, who appears in a televisionspot for the Nike corporation. But so openly does the commercial flauntthe confluence ofcapital and counterculture that is has brought consider-able criticism down on the head of the aging beat. Writing in the VillageVoce,Lhe Savan marvels at the contradiction between Burroughs'writ-ings and the faceles corporate enticy for which he is now pushingproduct. "Now the realization that nothing threatens the system has eedadvertising to exploit even the most marginal elements of society," Savanobserves. "In fact, being hip is no longer quite enough - better the pitch-man be 'underground."' Meanwhle Burroughs' manager insists, as allfurure Cultural Studies Eeatrnents of the ad will no doubt also insist, thatBurroughs'presence actually makes the commercial "deeply subversive" -"I hate to repeat the usual mntra, but you know, homosexud drug addict,manslaughter, accidental homicide." But Savan wonders whether, in fact, itis Burroughs who has been assimilated by corporate America. "Theproblem comes," she wites, "in how easily any idea, deed, or image canbecome part of the sponsored world."The most strtling revelation to emerge om the Burroughs/Nike

THOMAS FRANK,'wHY JOHNNY CAN'T DISSENT" 371


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322 COMMODtTtES, CO-OpTATtON,AND CULTURE JAMMTNGdemand of their underlings, "'What have you changed late?"How fasr areyou changing?'and'Are you pursuing bold enough change goals?",..Revo-lution," of course, means for Peters the same thing it did to Burrougtx andGinsberg, Presley and the Stones in their heyday: breaking rules, pissing offthe suits, shocking the bean-counters: "Activd and publichail defianceof the rules, many of which you doubtless labored mightily to construcr inthe first place." Peten even suggests that his readers implement this hostilityto logocentrism in a carnivalesque celebration, drinking beer out in'.thewoods" and destoying "all the forms and rules and discontinued reporrs"and,"ifyou've got real nerve," a photocopier as well.Today corporate antinomianism is the emphatic message of nearly everynew business text, continually escalating the corporete insurrection begunby Peten. Capitdism, at ler it is envisioned by the best-selling manage-ment handbooks, is no longer abouc enforcing Order, but destroying it."Revolution," once the totemic catchphrase of the counterculture, hasbecome the totemic catchphrase of boomer-as-capitalist. The InformationAge businessman holds inherited ideas and traditional practices not in rev-erence, but in high suspicion. Even reason itself is now found to be anenemy of rue competitiveness, an out-odate faculty to be scrupulouslyavoided by conscientious nrnegers. A r99o book by Charles Handyentided the Age of Unreason agrees with Peters that we inhabit a time inwhich "there can be no certainty" and suggess thac readers engage in full-fedged epistemological revolution: "Thinking Upside Down," using newways of "learning which can . . . be seen as disrespectfrrl if not downrightrebellious," methods of approaching problems that have "never beenpopular with upholden of continuity end of the status quo." Three yearslater the authors of Reengneering the Corporation ("A Manifesto for BusinessRevolution," as its subtitle declares) are ready to push this doctrine evenfarther. Not only should we be suspicious of raditional pracrices, but weshould cast out virnrally everhing learned over the past two centuries!

Business reengineering means putting aside much of the received wisdom oftwo hundred years ofinduseial management. It means forgetting how work wasdone in the age of the mass market and deciding how it can best be done now.In business reengineering, old job tides aud old organizational a*angemenB -departrnents, divisions, groups, and so on - cease to matterThey are artifacts ofanother age.As countercultural rebellion becomes corporate ideology, even the belovedBuddhism of the Beats wins a place on the execurive booksherf. ln Therade as MartialArtt (1993),Arnold Mindell advises men of commerce in

THOMAS FRANK,'wHY JOHNNY CAN'T DISSENT" 323the waln of the Tao, mastery of which he likerx, of course, to sur6ng' ForMindell's Zen businessman, as for the followers of Tom Peters, the world isa wdty chaotic place of oPPortuniry navigable only to an enlightened..leaderi'who can discern the "timespiriB" at work behind the scenes. Interms Peters himself might use were he a more meditative sort of inspira-tion professional, Mindell ellains that "the wise facilitator" doesnt seek topr.rr, the inevitable and random clashes between "conflicting fieldspirits," but to anticiPete such bous of disorder and profit thereby'Contemporary corPorate fantasy imagines a world of ceaseless' turbu-lentchange,ofcentersthatecstaticallyfailtohold,ofjoyousextinctionforthe ..arre gray-flannel creature of the past' Businessmen today decoratethe walls of their ofces not witlr portraits of President Eisenhower andemblems of suburban order, but with images of extreme attrletic daring'with sayings about "diversity" and "empowerment" and "thinking outsidethe box." ihey theorize their world nor in the bar cat of the commuteruain, but in weepy corPorate retreats at which they beat their tom-tomsand envision themselves as part of the greet e\ent-gade redition of edge-livers, risk-takers, and ass-kicken.Their world is a place not of sublimationand conformity, but of "leadership" and bold talk about defying the herd'And there is nothing this new enlightened species of businessman despisesmore than ,.rules" and "reason." The prominent culture-wariors of theright may believe thlt the counterculture was capitalism's undoing, but theantinomian businessmen know bener. "One of the T:shirt slogans of thesixties read,'Question authority,"' the authors of Remgineeting the Corpora-fion write. "Process owners might buy their reengineering team membersthe nineties venion:'Question assumptions'"'The new businessman quite naturally gravitates to the slogans and sensi-bility of the rebel sixties to exPress his understanding of the newInfoimationWorld. He is led in what one ",,,ag,'',e rlls "the busines rev-olution" by the ofrce-park subversives it hails as "business activiss,"..change agents," and "corporate radicals." He speaks to his comradesttuough commercials like the one for *Wop," a type of IBM computerop"o,ing system, in which an electric guir soundtrack and psychedelic.trid"o "ff""s surround hip executives with earrings and hairdos who arevisibly stunned by the product's gnarly 'tude (itt a "totally cool \/ay to runyo* .o-por.r," reads the product's print ads)' He understands the worldthrough Fast compatry, a succesfirl new magazine whose editors take theiinspiration om Hunter S. Thompson and whose stories describe suchthings as a "dis-organization" that inhabits an "anti-office" where "all ves-tiges of hierarchy have disappeared" or a comPuter scientist who is also a


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324 COMMODtTtES, CO-OpTATtON,AND CULTURE JAMMTNG"rabble rouser, an agent provocateur, a product ofthe rgos who never losthis activist fire or democratic values." He is what sociologiss paulLeinberger and Bruch Ticker have called "The New Individualist," thenew and improved manager whose arty worldview and creative hip derivedirecdy from his formative sixties dap.The one things this new executive isdefinitely of is Organization Man, the hyper-rational counter of beans,attender of church, and wearer of stiffhas.In television commercials, through which the new American business-men presents his visions and selundentanding to the pubic, perperualrevolurion and the gospel of rule-breaking ae the orthodory of the day.You only need to watch for a few minutes before you see one of theseslogans and understand the grip of antinomianism over the corporatemind:

SometimesYou Gotta Break the Rules - Burger KingIf You Dont Like the Rules, ChangeThem - WXRT-FMThe Rules Have Changed - DodgeTheAt of Changing- SatrThereT no one wey to do it - lztilThis is different. Different is good - ArbylJust Di6rent From the Rest - Speaal Erport &erThe Line Has Been Cossed: The Revolucionary New Supra - ToofaResist the Usual - the slogan of borh Clash Clear Malt and Young RubicamInnovate Don't Imitate - Hugo BossChartYour Own Course - Nauigator CologneIt separates you om the crowd - Vsion CologneIn most, the commercial message is diven home with the vanguardiconography of the rebel: screaming guitrs, whirling cameras, and startledold rimers who, we predict, will become an increasingly indispensable propas consumers requrre ever-greeter assurances that,YeslYou re a rebel! Justlook at how offended they are!Our businessmen imagine themselves rebe]s, and our rebels sound moreand more like ideologists of busines. Henry Rollins, for example, themaker of loutish, overbearing music and composer of high-school-grade-poery, straddles both worlds unproblematically. Rollins' writing andics srike all the standad alienated literary poses: He ra against over-civilization and yearns to "disconnect." FIe veers back and forth betweenvgue threats toward "week" people who "bring me down', and blusterydeclarations of his weightlifting abiliry and physical prowess. A' a result heruled for several years as the preeminent darling o DetaIs magazine, a

THOMAS FRANK, "WHY JOHNNY CAN'T DISSENT" 325periodical hardbook for the yorng executive on the rise, where rebellionhas achieved a perfect synthesis with corporate ideology- ln 1992, Detalsnamed Rollins a "rock 'n'oll samurai," an "emblem . . . of a new masculin-iry" whose "enlightened honesty" is "a way of being that seems to flesh outmany of the ideas expresed in contemporary culture and fashion." In 1994,the magazine consummated is relationship with Rollins by naming him"Man of theYear," printing a fawning story ebout his muscular worldviewand decorating its cover with a photo in which Rollis displays his tattoosand rubs his chin in a thoughrl manner.Details found Rollins to be such an aPProPriate role model for thestruggling young businessman not only because of his music-product, butbecause of his excellent "selstyled identity," which the magazine describesin rerms normally reserved fo the breast-beating and soul-seerchingvariety of motivational seminas. Although he derives it from the quality-maxirnizing wisdom of the East rather than the unfashionable docrines ofCalvin, Rollins' rebel posture is identical to that fabled ethic of the smallcapitalist whose regimen of posirive thinking and hard work will one daypay off. Detaib describes one of Rollins' songs' quite seriously, as "a selmotivational superforce, an anthem of empowerment," teaching lessonsthat any aspiring middle-manager must internalize. Elsewhere, Iggy Pop'that great chronicler of the ambitionless life, praises Rollins as a "highachiever" who "wants to go somewhere." Rollins himself even seers toinvite such an interpretation. Flis recent sPoken-word account of touringwith Black Flag, delivered in an uelenting two-hour drill-instructor stac-cato, begins with the timeless bourgeois story of oPPorhrnity taken, ofyoung Henry leaving the security of a "straight job," enlisting with a groupof visionaies who were "the hadest working people I have ever seen," andIearning.,what hard work is all about." In the liner notes he speaks proudlyof his Deming-esque dedication to qualiry of how his bandmates "Deliv-ered under pressure at incredible odds." When describing his relatiorshipwith his perents for the readen of Details,Rolliru quickly cuts to the criti-cel matter, the resuls tht such dedication has broughe "Mom, Dad, Ioutgross both ofyou Put together," a happy observation he repeas in hisinterriew with the NewYorTim Magazne.Despite the extreme hostility of punk rockers with which Rollins hadto contend all through the r98os, it is he who has been chosen by the com-mercial media as the godfather of rock 'n'roll revolt. It is not difficult to seewhy. For Rollins the punk rock decade wes but a lengthy seminar onleadership skills, nttt on chaos, and total quelity management. Rollins'much-celebrated anger is indistingrrishable om the anger of the ustrated


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326 COMMODtTtES, CO-OPTAT|ON, AND CULTURE JAMMTNGjunior executive who finds obstacles on the way ro the rop. His disciplineand determinacion are the automatic catechism of any small enEepreneurwho's just finished brainwashing himself with the latest leadership andpositive-thinking tracts; his poerry is the inspired vene of el Dys to Unlim-ited Power or lzt's Gt Resul, Not Exc,irles. Henry Rollins is no more atheat to estblished power in America than was Dde Carnegie. And yetRollins as king of the rebels - peerless and ultimate - is the mesage ham-mered home wherever photos of his growling visage appear. If you'reunhappy with your lot, the Culture Trust tell us with each new tale ofRollins, ifyou feel you must rebel, ke your cue om the most disgruntledguy of all: Lift weights! Work had! Mediate in your back yard! Roor ourthe weaknesses deep down inside yourself! But whatever you do, ilon,tthink about who controls power or how it is wielded.The structure and thinking of American busines have changed enor-mously in the years since our popular conceptions of is problems andabuses were formulated. In the meanrime the mad othings and jollyapolitical revolt of Beat, despite tleir vast popularity and insurgent air, havebecome powerless against a new regime that, one suspects, few of BeatTpresent-day admjrers and practitionen feel any need to study or under-sand.Today that beautiful countercultural idea, endorsed now by everyoneom the surviving Beats to shampoo manufacturers, is more the ofrcialdoctrine of corporate America thar it is a program of resistance.'What weundenand as "disent" does not subvert, does not challenge, does not evenquestion the cultural faiths of Western business.What David Rieffwrote ofthe revolutionary pretensions of multiculturalism is equally true of thecountercultural idea: "The more one reads in academic multiculturalistjournaJs and in business publications, and the more one contrests thespeeches of CEOs and the speeches of noted multiculturalist academics,the more one is struck by the similarities in the way they view the world."WhatT happened is not co-optation or appropriation, but a simple anddirect confl uence of interest.The problem with cultural dissent in America isn't that it's been co-opted, absorbed or ripped-off. Of couse itt been all of these things. But ithas proven so hopeless susceptible to such assauls for the same reason ithas become so hamless in the fint place, so toothles even before M.Geffent boys discovered it angsting awey at some ba in Lawrence, Kansas:It is no longer any different om the ofcial culture it's supposed to be sub-

verting. The basic impulses of the countercultural idea, as descended fiomrhe holy Beats, are ebout es threatening to the new breed of antinomian

THOMAS FRANK,'WHY JOHNNY CAN'T DISSENT" 177businesmen as Anthony Robbiru selling success and how to achieve it on alate-night infomercial.The people who staf the Combine arnt like Nurse Ratched' Theyaent Frank Burns, they arent the Church Lady, they arent DeanWormerfrom Animal House,rhey aent those repressed old folks in the commercialswhowanttobanTlopicanaFruitTvisters.They'rehipperthanyoucanever hope to be because hip their ofviat ideology' and they re always goingto be ther. ar the poetry reading to encouage your "ebellion" with ahearty ..right on, men!" before you even know they'* in the auditorium.You cant outrun them, or even sty ahead of them for very long: it's theirracetrack, and that's them waiting at the finish line to congranrlate you onhow outrageow your new style is, on how you shocked those stut prudesout in the heardand.Thomas Frank,"WhyJohnny Cant Dissent," CommodifuYow Dsent: SaluosfromThe Bafier,Thomas Frank and MattWeiland (eds')' NewYork:

Norton'rgg7,pp.3r-45. Originally printed tn The Bafi #6, 1995'

ABBIE HOFFMAN'FROM REYOTUTION FOR THE HELL OF 'T' AND,ERRY RUBIN,FROI'I DO lT!AbbieHoftnanandJerryRubin,twoofthefoundersofthelatel960sYouthlnternational Party, akaYippie!, mastercd the politics of the prankThey broughtthe NewYork Stock Exchange to a halt by throwing dollar bills from an observa-dressed in Revolutionary war costume to

arings, and nominated a pig for president atBut behind their absurdist humor lies aorse massof makingdominantfor radicalpropapnda,andtheTVnewsuiatheaterforrerrolwion,theyturnthepowerofcommercal cultuFe against itself. As Rubin writes, "Every guerrilla must knowhow to use tie terrin of the culture he is trying to destroy." There's a retribu-tive iustice in this practice now known as "culture iamming." As commercialculture borrows signs and symbols from cultures of resistance, the latter nowpoaches from the former. But tis brings up a question for both sides: when you

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Frank, Why Johnny Can't Dissent