It is a nation without an official religion. That’s precisely why it’s home to the (unfortunately, in my opinion) least secular society in the free world. The absence of an official religion is why America became a magnet for those members of European sects that actually believed in their theology, as well as becoming a laboratory for new extra-strength forms of (and perhaps variants on) Christian theology, such as Assemblies of God, Church of LDS, Missouri Synod Lutheranism, KJV-only Christians, etc.
It’s about in-group vs. out-group, and it’s also a numbers game. Today, to come up with a Christian majority, you have to include a lot of people who would have been classified as non-Christian in previous generations, including a whole lotta Cafeteria Catholics, Mainline Protestants, etc. But the people most loudly proclaiming the Christian majority are the ones who in the pulpits of their own places of worship most narrowly define what it means to be a true believer (and therefore saved, according to their beliefs).
The free culture movement and the pirate movement are two quite different things. The latter is fair game for ostracism by those who value Rule of Law. Free Culture, however, is not about expropriating things into the public domain but creating things that are born public domain, basically a (largely failed) effort to bring the (IMHO admirable) open source ethic to things other than software.
David Newhoff, in This is no time to be devaluing creators, seems to be trying to conflate the free culture movement with the tragically unfortunate trend of employers who want to pay people in “exposure” or “experience.” That phenomenon harms most if not all workers, creative class or not. The former would benefit more from better labor law protections than from better IP protections.
Another reason a middle level (or middle class) niche in cultural product is difficult to carve out is the “long tail” nature of audience share distribution. So it will probably always be the case that the nightclub acts vastly outnumber the rock stars, but also that the amateurs will always vastly outnumber the nightclub acts. Making assertion of IP rights the main strategy against the unpaid internship phenomenon looks from my outsider perspective like an attempt to guildify the creative professions by erecting entry barriers. I actually have nothing against this approach, as I’m pro-union. But should the high wall be between established professionals and semiprofessionals? Or between semiprofessionals and amateurs? Perhaps the creatives should go full trade unionist and adopt a formal apprentice/journeyperson/master hierarchy. I think paid apprenticeships are the only truly appropriate answer to unpaid internships.