Many takes have been made on this, yet, they miss one major thing. It is the reason that equally priced homes with Scandanavian minimalism and Victorian Maximalism will be morally judged differently with the latter rhetoricallty burned at the stake. It is the same reason big poetry houses won’t publish traditional rhyming and metered poetry and why the literati of the 20th century honored a sociopathic Nazi who defected from the Americans as the greatest poet of the century. It is the same reason Cinderella is regarded as piece of misogynistic trash and Christianity is remembered for its worst episodes while the other religions are not. The traditional, classic, and beautiful is equated with the political and social beliefs of the cultures that produced them.
God sees no more virtue in the opulence of a minimalist home than a maximlaist home if the home is valued at $20 million and if a middle class person gives their home a fairy-tale vintage decor and does period dress-up parties as an aristocrat. That’s a neutral hobby; not a vice. This is not only from the left, since the right-wing’s hypermasculinity demands a spartan and macho culture. The reason the culture cannot produce classics is they are morally against doing so.
To use an example of managing to make modern classics, let’s take the Fearless album by Taylor Swift, the album that shot her to superstardom. It used a vintage setting, archetypal themes, and in the metaphorical sense used meter and rhyme. Listening to an Oxford Union piece by Baz Lurhman, a while back, he complained about the tendency toward psychological realism. That art must be superficially accurate to reality. He and I are against that and so was Taylor Swift. Scenes should rhyme, themes should usually be universal, at least, to a degree, and more. All things the hypermodernists who find the classic as too associated with backward times regard as too regressive and the right-wing sees as not masculine enough.
Good art is spoooky, haunting, and it has meter and rhym and meaning. If one is to create a Christmas song, it cannot be about a Hallmark Christmas story or an observational piece about what Christmas is like; it must be something far deeper. The juxtaposition of the glory of a prince against the destitution and poverty of his setting, the idea that from the ashes of having almost nothing that the ultimate pheonix of everything shall rise from it. The conquest of darkness by light and death by life. The tragedy followed by triumph. There is a lot of poetry to work with. Contemporary artists are afraid of the poetry needed to write a Christmas song or anything because, I mean, they want genres borne of eras without slavery or sodomy laws for the left and of primal masculinity on the cultural right.