• Outline * Preface * Not necessarily directed at young men of color. (Or definitely not directed at them, but at white, CIS, straight young men.) * Describing the “real” scope of my authority. * While I have not traveled outside of America whatsoever, I have traveled within it fairly extensively. * My authority is especially strong when it comes to protestant Christianity. * Function of the book. * Chapter 1: “I Don’t Care What You/They Think”

        "Apathy's Misconceptions"

“Apathy Misconceived”

		* <b>You do not <i>actually</i> want to attain a state of true apathy</b>, trust me.
		* Chris Cuomo exists.
		* Z-Ro
		* Apathy is even argued for in the Christian Bible. (The opinion of other people does not matter, only God's.)
			* <a href="https://blog.bible/bible-blog/entry/3-bible-verses-for-when-you-feel-judged-by-others">3 Bible Verses for When You Feel Judged By Others</a> | <i>Bible Blog</i>

			  Galatians 1:10: "Am I now trying to win the approval of human beings, or of God? Or am I trying to please people? If I were still trying to please people, I would not be a servant of Christ."


	* Chapter 2: "Music Taste Through Generations"

	  "Boomers' Destructive Generational Tastemaking Disaster"


		* Quote From <a href="https://bilge.world/bandcamp-streaming-music">the Bandcamp Essay</a> 
			* It's bewildering how content we are to abruptly abandon the substance music had to our teenage selves out of misconstrued justifications for our classic fainéance – actively choosing to subject our public ambiance to thousands of replays of “the best” records in favor of dipping even the most cowardly toe into unfamiliar waters, even when the opportunity cost is inherently halved – only to then have the audacity to evangelize our dilapidated conceptions of “good music” to our children as we demonize the music of their generation, depriving them of a very essential rite of their cognitive development.<b><u> I can think of little more reductive, repugnant, reckless, or racist crusades as a model figure than indoctrinating your child with an inherent distaste for their own culture</u></b>, and nothing more deeply alarming to hear from the mouth of someone born in the 21st century than shit like “Queen was better than any rapper will ever be,” or “real musicianship will die forever with Eric Clapton.” It’s unfair and unnatural: imagine if your high school classmates had consistently turned up their scrunched nose at the living whole of rock & roll, declaring Scott Joplin to be the last musician they could stand.
			* Consider if the industry-wide customer experience standard for the musical ambiance in 1970s American eating and drinking establishments was entirely comprised of works by John Phillip Souza, and the most prevalent cultural revolution manifested itself something like the following: In countless popular films set in the time (and the stories told today by your parents of their youths that informs them,) a group of popular high school boys – generally three longtime childhood friends and a single addition from the previous summer with an Army Dad and a moderate bad boy aura that’s made him one of the school’s notoriously attractive students and the somewhat-abusive leader in the pack. After spending some time trying to convince the other three (the crucial moment for his case being the bad kid’s rare moment of sincerity trope) of its guaranteed social, sexual and financial ROI, they seal their agreement to start a band with a four-way saliva slap. Imagine if in the progression of this exhausted old tale, it remained entirely classic (and boring) when it faded to a “THREE MONTHS LATER...” ceiling shot of the four the in full, gleaming, performance-spec get-up of the presidential marching band in their garage, and it was revealed that they’d they practiced “The Star Spangled Banner” every night just to make the girls swoon in the film’s resolution with an encore of “America the Beautiful” at an unsanctioned (and very patriotic!) house party. Would you have made out on your first date with someone in your 80s high school Chemistry class after they’d was about but suffice it to say that it’s absolutely fucking bonkers how often I encounter “Sweet Home Alabama” (and other tunes I’ve already heard hundreds of times throughout the first third of my existence, conservatively) dripping down from the overhead speakers in all manner of big retail stores, where it’s inappropriate and unwelcome. Even from the generous assumption that every single one of them is an objective masterwork of composition, the amount of affection the American music listening audience has for the same 500 singles is on par with our rampant gun violence in terms of our unanimous tolerance for ridiculously illogical habits. I’ve been sitting in a cute, moderately trendy coffee shop on the corner of the major avenue of access to my cute, moderately trendy Portland neighborhood for an hour now, and I’ve recognized every single one of the tracks played just a bit too loudly on the stereo. I’ve been sick of them all since Middle School. That one Bow Bow Chicka Chicka thing… How very charming. <i>“The 70s, the 80s… the one-hit wonder channel!”</i>
			* Contrary to the popular hipster narrative we’ve just defeated, it’s not the popularity of the lineup that makes these experiences so distasteful, but their <b><i>regularity</i></b>. It doesn’t take a doctor of psychology to observe that tireless exposure to any given work of art inevitably erodes its value, yet we continue to expend resources saturating most mundane spaces in our society with an unyielding regurgitation of the same brackish pop culture symbols as if we’re trying to either induce a canonical vomit, intentionally obliterate the Yelp! reviews for a distant future museum’s “North America Enters the 21st Century” exhibit, or <i>both</i>.
		* This issue is not unique to American society nor to men, really, but is entirely the sickness of white boomers and gen Xers. It is an anomaly that has genuinely and profoundly perturbed me for virtually the entirety of my existence as a culturally literate entity - certainly longer than any of the other disturbances addressed in this volume.
		* The process of jazz becoming mainstream (which I think it had definitely by the 1940s.)
		* "<a href="https://medium.com/extratone/boomers-tastemaking-disaster-bb66330d2f29">Boomers' Destructive Generational Tastemaking Disaster</a>"
	* Catcalling
	* Clothes
	* Stuff we should <b>keep to ourselves</b>
* Credits
	* "I'm laughing at you and the best part is you won't truly understand why, in any deep and meaningful way, for another 20 years." - <a href="https://mastodon.online/@JustSomeGuy/104689299479520224">JustSomeGuy on Mastodon</a>