The Paradox of Contemporary Cultural History. We are clinging as never before to the familiar in matters of style and culture
"For most of the last century, America’s cultural landscape—its fashion, art, music, design, entertainment—changed dramatically every 20 years or so. But these days, even as technological and scientific leaps have continued to revolutionize life, popular style has been stuck on repeat, consuming the past instead of creating the new. (…)
The past is a foreign country. Only 20 years ago the World Wide Web was an obscure academic thingamajig. All personal computers were fancy stand-alone typewriters and calculators that showed only text (but no newspapers or magazines), played no video or music, offered no products to buy. E-mail (a new coinage) and cell phones were still novelties. Personal music players required cassettes or CDs. Nobody had seen a computer-animated feature film or computer-generated scenes with live actors, and DVDs didn’t exist. The human genome hadn’t been decoded, genetically modified food didn’t exist, and functional M.R.I. was a brand-new experimental research technique. Al-Qaeda and Osama bin Laden had never been mentioned in The New York Times. China’s economy was less than one-eighth of its current size. CNN was the only general-interest cable news channel. Moderate Republicans occupied the White House and ran the Senate’s G.O.P. caucus. Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. (…)
During these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past—the 00s, the 90s, even a lot of the 80s—looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History. (…)
Madonna to Gaga
20 years after Hemingway published his war novel For Whom the Bell Tolls a new war novel, Catch-22, made it seem preposterously antique.
Now try to spot the big, obvious, defining differences between 2012 and 1992. Movies and literature and music have never changed less over a 20-year period. Lady Gaga has replaced Madonna, Adele has replaced Mariah Carey—both distinctions without a real difference—and Jay-Z and Wilco are still Jay-Z and Wilco. Except for certain details (no Google searches, no e-mail, no cell phones), ambitious fiction from 20 years ago (Doug Coupland’s Generation X, Neal Stephenson’s Snow Crash, Martin Amis’s Time’s Arrow) is in no way dated, and the sensibility and style of Joan Didion’s books from even 20 years before that seem plausibly circa-2012. (…)
Ironically, new technology has reinforced the nostalgic cultural gaze: now that we have instant universal access to every old image and recorded sound, the future has arrived and it’s all about dreaming of the past. Our culture’s primary M.O. now consists of promiscuously and sometimes compulsively reviving and rejiggering old forms. It’s the rare “new” cultural artifact that doesn’t seem a lot like a cover version of something we’ve seen or heard before. Which means the very idea of datedness has lost the power it possessed during most of our lifetimes. (…)
Loss of Appetite
Look through a current fashion or architecture magazine or listen to 10 random new pop songs; if you didn’t already know they were all things from the 2010s, I guarantee you couldn’t tell me with certainty they weren’t from the 2000s or 1990s or 1980s or even earlier. (The first time I heard a Josh Ritter song a few years ago, I actually thought it was Bob Dylan.) In our Been There Done That Mashup Age, nothing is obsolete, and nothing is really new; it’s all good. I feel as if the whole culture is stoned, listening to an LP that’s been skipping for decades, playing the same groove over and over. Nobody has the wit or gumption to stand up and lift the stylus.
Why is this happening? In some large measure, I think, it’s an unconscious collective reaction to all the profound nonstop newness we’re experiencing on the tech and geopolitical and economic fronts. People have a limited capacity to embrace flux and strangeness and dissatisfaction, and right now we’re maxed out. So as the Web and artificially intelligent smartphones and the rise of China and 9/11 and the winners-take-all American economy and the Great Recession disrupt and transform our lives and hopes and dreams, we are clinging as never before to the familiar in matters of style and culture.
If this stylistic freeze is just a respite, a backward-looking counter-reaction to upheaval, then once we finally get accustomed to all the radical newness, things should return to normal—and what we’re wearing and driving and designing and producing right now will look totally démodé come 2032. Or not. Because rather than a temporary cultural glitch, these stagnant last couple of decades may be a secular rather than cyclical trend, the beginning of American civilization’s new chronic condition, a permanent loss of appetite for innovation and the shockingly new. After all, such a sensibility shift has happened again and again over the last several thousand years, that moment when all great cultures—Egyptian, Roman, Mayan, Islamic, French, Ottoman, British—slide irrevocably into an enervated late middle age. (…)
Plus ça change, plus c’est la même chose has always meant that the constant novelty and flux of modern life is all superficial show, that the underlying essences endure unchanged. But now, suddenly, that saying has acquired an alternative and nearly opposite definition: the more certain things change for real (technology, the global political economy), the more other things (style, culture) stay the same.
But wait! It gets still stranger, because even as we’ve fallen into this period of stylistic paralysis and can’t get up, more people than ever before are devoting more of their time and energy to considering and managing matters of personal style.
And why did this happen? In 1984, a few years after “yuppie” was coined, I wrote an article in Time positing that “yuppies are, in a sense, heterosexual gays. Among middle-class people, after all, gays formed the original two-income households and were the original gentrifiers, the original body cultists and dapper health-club devotees, the trendy homemakers, the refined, childless world travelers.” Gays were the lifestyle avant-garde, and the rest of us followed. (…)
People flock by the millions to Apple Stores (1 in 2001, 245 today) not just to buy high-quality devices but to bask and breathe and linger, pilgrims to a grand, hermetic, impeccable temple to style—an uncluttered, glassy, super-sleek style that feels “contemporary” in the sense that Apple stores are like back-on-earth sets for 2001: A Space Odyssey, the early 21st century as it was envisioned in the mid-20th. And many of those young and young-at-heart Apple cultists-cum-customers, having popped in for their regular glimpse and whiff of the high-production-value future, return to their make-believe-old-fashioned lives—brick and brownstone town houses, beer gardens, greenmarkets, local agriculture, flea markets, steampunk, lace-up boots, suspenders, beards, mustaches, artisanal everything, all the neo-19th-century signifiers of state-of-the-art Brooklyn-esque and Portlandish American hipsterism.
Moreover, tens of millions of Americans, the uncool as well as the supercool, have become amateur stylists—scrupulously attending, as never before, to the details and meanings of the design and décor of their homes, their clothes, their appliances, their meals, their hobbies, and more. The things we own are more than ever like props, the clothes we wear like costumes, the places where we live, dine, shop, and vacation like stage sets. And angry right-wingers even dress in 18th-century drag to perform their protests. Meanwhile, why are Republicans unexcited by Mitt Romney? Because he seems so artificial, because right now we all crave authenticity.
The Second Paradox
So, these two prime cultural phenomena, the quarter-century-long freezing of stylistic innovation and the pandemic obsession with style, have happened concurrently—which appears to be a contradiction, the Second Great Paradox of Contemporary Cultural History. Because you’d think that style and other cultural expressions would be most exciting and riveting when they are unmistakably innovating and evolving.
Part of the explanation, as I’ve said, is that, in this thrilling but disconcerting time of technological and other disruptions, people are comforted by a world that at least still looks the way it did in the past. But the other part of the explanation is economic: like any lucrative capitalist sector, our massively scaled-up new style industry naturally seeks stability and predictability. Rapid and radical shifts in taste make it more expensive to do business and can even threaten the existence of an enterprise. One reason automobile styling has changed so little these last two decades is because the industry has been struggling to survive, which made the perpetual big annual styling changes of the Golden Age a reducible business expense. Today, Starbucks doesn’t want to have to renovate its thousands of stores every few years. If blue jeans became unfashionable tomorrow, Old Navy would be in trouble. And so on. Capitalism may depend on perpetual creative destruction, but the last thing anybody wants is their business to be the one creatively destroyed. Now that multi-billion-dollar enterprises have become style businesses and style businesses have become multi-billion-dollar enterprises, a massive damper has been placed on the general impetus for innovation and change.
It’s the economy, stupid. The only thing that has changed fundamentally and dramatically about stylish objects (computerized gadgets aside) during the last 20 years is the same thing that’s changed fundamentally and dramatically about movies and books and music—how they’re produced and distributed, not how they look and feel and sound, not what they are. This democratization of culture and style has two very different but highly complementary results. On the one hand, in a country where an adorably huge majority have always considered themselves “middle class,” practically everyone who can afford it now shops stylishly—at Gap, Target, Ikea, Urban Outfitters, Anthropologie, Barnes & Noble, and Starbucks. Americans: all the same, all kind of cool! And yet, on the other hand, for the first time, anyone anywhere with any arcane cultural taste can now indulge it easily and fully online, clicking themselves deep into whatever curious little niche (punk bossa nova, Nigerian noir cinema, pre-war Hummel figurines) they wish. Americans: quirky, independent individualists!
We seem to have trapped ourselves in a vicious cycle—economic progress and innovation stagnated, except in information technology; which leads us to embrace the past and turn the present into a pleasantly eclectic for-profit museum; which deprives the cultures of innovation of the fuel they need to conjure genuinely new ideas and forms; which deters radical change, reinforcing the economic (and political) stagnation. I’ve been a big believer in historical pendulum swings—American sociopolitical cycles that tend to last, according to historians, about 30 years. So maybe we are coming to the end of this cultural era of the Same Old Same Old. As the baby-boomers who brought about this ice age finally shuffle off, maybe America and the rich world are on the verge of a cascade of the wildly new and insanely great. Or maybe, I worry some days, this is the way that Western civilization declines, not with a bang but with a long, nostalgic whimper.”
☞ Neal Gabler on The Elusive Big Idea - ‘We are living in a post ideas world where bold ideas are almost passé’
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