Why I Waited in Line for a $20 Plate of Boiled Onions

on jumping the hurdles on the road of authenticity

Posted 2010-08-11 14:15 in branding, business, culture, experiences, human nature, marketing, postmodernism


I spent last weekend in a place called Door County. People from all over the upper Midwest travel to this area of Northern Wisconsin for its natural beauty, bucolic charm, and for something called “fish boils.” A fish boil is exactly what it sounds like— a dinner consisting primarily of two pieces of boiled whitefish, served alongside a couple boiled potatoes and a couple boiled onions. In the world of Door County, this remarkably simple set of unseasoned (with the exception of salt) ingredients dunked into hot water can run you upwards of $20 per person. What’s more remarkable is that people come in droves, cash in hand, to get a taste of the famous Door County fish boils, which in description does not sound all that appetizing.

It’s hard to understand why people are so eager to shell out what seems like a lot of money for inexpensive food that could easily be prepared at home. After all, it really does not require any level of culinary expertise to boil food. It’s also worth noting that despite the ease with which a total novice cook could boil a dinner, boiling is probably one of the least popular forms of cookery. And, I should add, I’ve met exactly zero people who have confessed that they crave eating whole onions cooked in any manner, much less boiled.

One of the first things people will tell you about fish boils is that it isn’t so much a meal as it is “an experience.” This is hard to dispute on account of the pre-dining ritual that occurs as a central part of the Door County fish boil. A large kettle filled with water is heated by fire as a group of diners stand around and watch. A so-called “boilmaster” ceremoniously dumps onions, potatoes, fish, and salt into the bubbling brew. After 10 minutes of heating, kerosene is thrown onto the fire, causing the fire to momentarily flare up in a visceral and visually arresting manner. The rapid increase in heat causes the mixture in the kettle to boil over. Apparently this flushes the fish of its oils (it’s unclear to me why eliminating the oils is a good thing, but the raging fire is fun to watch). The food is then taken out of the water and served.

When probed about it, an employee at a small town visitor bureau confessed to me that people who live in Door County area don’t eat fish boil, and many have never even tried it once despite the fact that outsiders came from hundreds of miles away to get it. Some locals who have eaten fish boil, I was told, did it under the pretense of “doing that touristy thing” in order to understand what the hubbub was about. These revelations do not come much as a surprise.1 Lots of places have things they are famous for that only outsiders appreciate. When I lived in the Bay Area, I found that hardly anyone who had lived there for any period of time had spent an afternoon riding cable cars, going to Fisherman’s Wharf, or riding the boat to Alcatraz. Consigned to being tourist elements, these things are almost entirely out of the psychic purview of the average Bay Area denizen (except when relatives come into town and want to see them!).

Nevertheless, there are good reasons why certain things become famous. Just as the cable cars of San Francisco are unique, the fish boils of Door County are also unique. And it’s not just that these things are unique; they actually factored into the traditional cultures of these places at one time. They are sold as authentic expressions of regional culture. The fish boil was a tradition of Scandinavian settlers of Northern Wisconsin, and as you might figure from a meal of boiled onions and fish, this tradition was born out of extreme poverty and lack of food availability. It had long fallen out of common practice in the area, except for events like church fundraising dinners (again, a context where frugality was a virtue). It was only after a businessman who owned a place called the Viking Grill decided to package it and market it to tourists in the early 1960s that it gained popularity, and moved from the province of outdated tradition to that of the tourist trap, entirely bypassing the possibility of being a normal food for normal people living in the region.

What is fascinating about all this to me is how easy it is to get people to implicitly believe they can’t have the “real” experience without consuming certain things:

If you didn’t see the Pyramids, you didn’t really go to Egypt. If you didn’t see the Eiffel Tower, you didn’t really go to Paris. If you didn’t experience a fish boil, you didn’t really go to Door County. These sorts of hurdles extend far beyond simple tourism in half-serious cultural truisms that we’ve heard repeatedly. Some examples:

Here, specific acts of consumption, through various means (sometimes deliberate acts of marketing, sometimes through more obscure mechanisms), become socially-mandated pre-requisites for entry into an entire category of human experience. At that point, to partake in the consumption category without partaking in the specific consumption pre-requisite almost becomes an act of fraud, or perhaps worse, alarming ignorance.

As denizens of a post-modern world, seeking out authentic experiences is an all-consuming pastime, but what’s truly remarkable is how we’ve been trained to collect proof of our authentic experiences in the form of photographs, souvenirs, and artfully retold stories of our times spent doing things in these exotic environments. If you ask me, the reason why Door County visitors go to fish boils has nothing to do with people wanting to try boiled fish per se; it’s about wanting to experience an authentic tradition, which serves as an insurance policy against the possibility of doubts being raised (possibly by oneself) about whether one actually went to Door County. Not went, really— went went.

1 Something about the way this tradition has been marketed in Door County literature has the feel of a “tourist trap.” For starters, it seems awfully expensive for something that is supposedly a tradition actively practiced by locals— especially when the foods involved are inexpensive and cooked in a manner that should be incredibly cheap. Also the fish boil comes up way too frequently in literature about Door County, as if a concerted effort is being made to hype up the fish boil as something really special, a sort of anachronism whose bygone quality defines Door County as a whole. People talk about San Francisco sourdough and New England clam chowder and New Orleans Po’ Boy sandwiches, but despite the historic import of these foods in regional tradition, they aren’t employed as central metaphors in nearly every single piece of literature about these places. And then there’s the highly ritualistic aspect of the fish boil. The fact that it is an event that diners are specifically asked to make reservations for and told to come 25 minutes early to witness is unusual. It transforms a solitary meal into a community event, just another dinner into a highly photograph-able spectacle, one that is be easy for people to showcase to their friends at home. The roaring fire— itself a genuinely quaint symbol of an authentic retreat from modern life— couldn’t but help in this context.

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On Arming the Enemy: Dissecting the Consumer/Corporation War Narrative

how the cultural battle of consumers vs. companies is flaring in the marketplace and where it might take us as a society

Posted 2010-08-10 12:25 in business, consumerism, culture, economics, ethics, marketing, postmodernism


Proctor and Gamble, one of the biggest companies in the world, spent $8.6 billion in advertising in Q4 2010. This, as you might notice, is a lot of money. It’s easy to see this sort of expenditure as confirmation of the fact that as a society, we are constantly being inundated with advertising and someone’s always trying to get us to buy something. However, this massive number should also illustrate a more important point that maybe isn’t as obvious, and which culturally, we aren’t attuned to recognizing: advertising doesn’t really work. Perhaps more accurately, advertising as we’ve known it is a ridiculously clumsy tool that requires inordinate amounts of spending for a small level of effectiveness.

Think about the traditional forms of (non-internet) advertising. Companies pay millions of dollars to put on a 30 second ad during a television show— effectively broadcasting their ad to everyone who might be watching it. Or they have a full page ad placed somewhere in a magazine or newspaper. These are not very precise methods of reaching people. They might be able to target certain segments of people by carefully selecting the TV program (ex. viewers of Star Trek, for example, are likely to be very different consumers than viewers of ESPN SportsCenter) or by being selective about the magazine to advertise in (ex. readers of BusinessWeek are likely to be pretty different than readers of Martha Stewart Living), but there’s no doubt that these techniques are crude methods of gaining attention. It has been said, quite accurately, that effective advertising is the art of reaching the right person, at the right place, at the right time, with the right message. The chances of traditional forms of advertising hitting the mark on all of these levels is quite small.

Of course, the reason advertising was always like this was because of clear structural limitations; the options for advertising were few, and effective targeting was not easy given the limitation of options. Companies advertised in this ineffective way because they had to.

But these barriers are quickly melting away, and it’s creating what I see as a spectacular and fascinating clash of consumers’ cultural values and those of businesses. Here’s an example:

For some time now, Hulu, the popular internet media site that allows consumers to watch many television programs online, has allowed viewers to choose from a list of advertising that they want to punctuate the programs they choose to watch. More recently, they started to just show ads with a simple question in the upper-righthand corner asking whether the ads shown are relevant or not. Supposedly, as viewers feed the system with more and more information about what kind of ads they think are relevant, the system becomes more and more adept at giving individuals ads that matter to them; that is, it creates an individualized profile for each viewer.

I have found that as I get talking to people about marketing efforts like this, many consumers are extremely uncomfortable with the idea of receiving highly targeted ads. They are even more disturbed by the idea of feeding companies information that might make ads more targeted to them as individuals. Though clearly our media institutions are set up in a way that anyone who spends any time navigating them will definitely see ads in some form or another, many viewer are mortified by the idea of giving away enough information that they might receive relevant ads.

This is an interesting, somewhat curious observation. Again: People apparently would rather see a random smattering of ads than a bunch of specifically targeted ads that address personal interests. Why would anyone rather see things they aren’t interested in than things they are interested in? On the surface, this sentiment defies all logic.

It’s only once you understand the fundamental narrative that underlies consumers’ cultural understandings of the marketplace, that this attitude begins to make sense.

Our society has come to implicitly view the marketplace as a sort of warzone. Consumers view themselves locked, via social contract, in an epic conflict against producers. The perception is that companies will do everything in their power to ensnare, enslave, and take advantage of consumers through their business tactics (marketing, data mining, targeted advertising, attacks on privacy, etc), while consumers dutifully resist these machinations, and employ their own tactics in retaliation. In other words, there are two sides, diametrically opposite in mission; companies try to take advantage of consumers, and consumers in turn try to take advantage of companies. But it’s not that simple. Complicating the situation is that while this portrait of dueling archnemeses is going on, consumers and producers are also deeply dependent on one another. In fact, each side could not survive without the other, which means both sides have to limit their aggression and, in effect, make peace in some way.

So here we are, entrenched in a struggle that mirrors an abusive love-hate relationship. Consumers want the television programming, but they don’t want to give the enemy “ammunition” by telling them whether the ads they show are relevant or not. This is in spite of the fact that, rationally speaking, consumers really have nothing to lose (and most likely something to gain) by having more relevant ads.

Many people openly voice concern and outrage about targeted advertising. Google faced a lot of heat when their AdWords system (by far their most profitable enterprise, and the one that keeps their business afloat) was released. This system simply displayed targeted ads based on what users looked up on the Google search engine, and what words appeared in the text of the emails they were looking at in their GMail accounts. This process collected absolutely no information about users as individuals, yet the outcry was sizable.

To the naysayers, the self-described rationale is that It’s about the loss of privacy. It’s about the encroachment of commerce into every sphere of society. It’s about the desanctification and cheapening of life by turning it all into a story about consumerism. It’s about how corporations, through advertising, create of societal anxieties and pervasive feelings of inadequacy.

I do not entirely discount these fears as overblown or paranoid fantasies. These are very real and very legitimate concerns. It is not hard to see how the encroachment of commerce has, in the past, scarred the physical landscape of many formerly beautiful spaces through the addition of strip malls, chain restaurants, and giant illuminated billboards; it’s no stretch to think that the psychological landscape could be tainted in a similar fashion through invasions of privacy, the cluttering of the information environment, and the subtle integration of commerce into every activity known to man.

In the past, it was easy to cordon ourselves off from marketing messages; for example, you couldn’t receive an ad if you weren’t watching TV. But as technology changes, we find companies like Foursquare ramping up, using our cell phones to determine our current locations and targeting us for couponing and other forms of marketing that capitalize on the sorts of dynamic information that TV and magazines simply cannot make use of. Our entire lives then become transformed into a marketing landscape, a sort of augmented reality in which specific information about us and our environments are mined, processed, and returned to us in the form of new layers of information and messages that follow us everywhere we go. If you subscribe to the mainstream view of the consumer marketplace that I described above, this sounds like a very disturbing, Orwellian vision of the future.

However, that’s only one side of the equation. It’s also important, though many deliberately avoid considering it, to acknowledge how consumers’ voluntary offering of information to marketers could actually benefit those same consumers. Wouldn’t it be nice, for example, if you were thinking of buying something, and you’d get a coupon for $20 off right before you bought it? This is just one example, but it’s exactly what a lot of marketers want to do. On one hand, it’s got all the “big brother” overtones of constant monitoring, but on the other, it seems like legitimate value is being conveyed in this process. As a consumer, you’ve been given a special deal on something you were thinking of doing anyway, and you still have the option to ignore the message and move on with your life; no one is forcing you to do or buy anything. So what’s wrong with this?

Well, if you think back to the nature of this consumer struggle against corporations, the resistance makes more sense. Consumers have been culturally trained to believe that when producers offer discounts and deals, which on the surface appear to be helpful and valuable, it is actually a case of producers gladly forfeiting the battle in order to win a larger war. Here’s an example of how this perception plays out in real life.

All the major grocery store chains offer loyalty cards. Loyalty cards typically offer consumers discounts on various products from week to week. All you have to do is present your card and you’ll save a lot of money. It seems like a no-brainer to carry a loyalty card then. But many people simply will not use them because it violates a sense of propriety with regards to consumers’ own roles in the consumer-producer struggle. Using a loyalty card would be tantamount to handing power over to the grocery store; to use the loyalty card is tacit acceptance that one is willing to sell out the greater cause (consumer rights in the face of corporate hegemony) for some small discount. It is offering information to be data mined, and licensing a company to use the very same data to later exploit the consumer— and indeed all consumers again and again in the future.

Another part of this that can’t be overlooked is the cultural attitude we have towards the twin concepts of materialism and consumerism. These words lack a clear definition in the public consciousness, but it’s quite clear that no one wants to be viewed as representing those ideas, nor does anyone want to be viewed (even by themselves) as possibly promoting those values in any way. Talk to people about targeted ads and inevitably the concern comes up that people need to be protected from themselves. Yes, it’s true that advertising doesn’t force anyone to buy anything, but people (other people, never the person you’re talking to, mind you) are unduly influenced by advertising, and will consume recklessly. This is highly detrimental to our society and must be prevented. Better not to feed people with targeted ads that may lower their sales resistance.

For these reasons, highly targeted ads are viewed as dangerous exercises that threaten to undermine the very foundations of a civil society, turning it into an uncentered, amoral sphere controlled by corporations. How well founded these fears are is anyone’s guess. However, my own opinion is that as a society, we have perennial fears about corporations and concerns about how they accumulate and wield power; the form that these fears take is constantly in flux, but at its root, the fears are always the same: the very nature of society is at stake. Historically speaking though, one thing is certain: new technology is almost always met with serious concerns about its impacts on society. Introductions of any new system in which consumer information is collected and used is always decried as taking things too far. As information becomes increasingly easy to collect, transfer, and utilize, these fears too escalate in proportion. But what also seems to happen is that these systems don’t really go away; instead, after the initial furor dies down, we eventually as a society become comfortable with them as a constant presence, and we get used to having them around. They become integrated into consumer culture, and people begin to view them as institutions and even as valuable pieces of social currency, even if they don’t necessarily come out and say it or even think about them consciously in that way.

But by then, consumers are looking at new corporate inventions and thinking about how the implications are going to destroy society.

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The Unbearable Weight of Post-Modern Symbolism: The Case of Background Music

how categorization holds us hostage

Posted 2010-07-21 15:12 in culture, experiences, marketing, postmodernism


Sometimes the post-modern world is a weird place to be. The things we do are so pregnant with symbolism that it’s hard to do anything that doesn’t appear to say more about you than you’d mean for it to. My girlfriend Huan-Hua’s birthday was a couple months ago and we held a very enjoyable party at our house, where about 20 people showed up. What typically happens in situations like this is that I’m expected to be in charge of the music. I can’t stand being in charge of the music.

There’s too much scrutiny and expectation associated with that job, too much anxiety associated with failing to match the playlist with the crowd’s prevailing sense of aesthetics, or matching the music to the crowd’s mood. Some people love doing this because they can showcase their impeccable tastes and impress people with their musical knowledge. I envy these people for the unabashed way in which they are able to share their tastes without a neurotic fear of judgment. However, I am unfortunately not in this camp.

Ideally, what I’d like is to just put something on and walk away without having to worry about it. In a world of musical diversity and genre-fication, I feel that the act of putting on a track by [artist X] will have a symbolic social value that is necessarily greater than the value that I personally ascribe to the act of putting on [artist X]. For example, if I am playing DJ at a party, and I happen to put on something by, say, New Order (not a bad selection for a party, in my opinion) I see this act as primarily fulfilling a functional purpose— filling the air with something that is tonally aligned with a festive event. It will serve as suitable background music, and won’t get attract too much attention to itself. But in this post-modern era, a New Order song is not just music. It is part of a genre. That genre is attached to many symbolic meanings. Those symbolic meanings are then attached to the DJ. The DJ then is responsible for the “statement” that these meanings make.

On more than one occasion, I put on an album by John Zorn, who is one of my favorite jazz musicians. His band Masada makes music that is alternately pleasant Middle-Eastern/Klezmer-inflected jazz music and less frequently, crazy, off-the-wall free jazz that perhaps encapsulates the most ridiculous negative stereotypes of what jazz music is (e.g. “It’s just a bunch of people playing random noises without a beat! I could do that!”). When it’s the former, it’s very good, energetic, organic, and sophisticated party music. When it’s the latter, it’s chaotic, unnerving, and immensely distracting. I try to delete songs with avante-garde instrumental wailing from my playlists. Of course, one night I failed, and I felt rather sheepish amidst a crowd of befuddled 20- and 30-somethings being sonically battered by cacophonous screeches of atonal, arrhythmic saxophone. This, for having made a bizarre public statement that I had actually studiously avoided making.

My friend Tim suggests that the best way to avoid this problem is to divest control: put on a radio station. But even then the selection of the station itself is an editorial process that could reflect back on you. Short of dumping the DJ job on someone else, it seems there are few escapes— though I can think of at least two ways out of it; 1) at the start of the party, choose a radio station through a transparently randomized process, or 2) profess total ignorance about anything related to music.

The first of these options, you have to admit, is pretty ridiculous. The statement that would result from you making a spectacle of randomly selecting a radio station is very likely more damaging to your image than you putting on a station representing any particular genre (though putting on a smooth jazz station— aka “quiet storm”— would be one genre that could potentially be even worse).

Professing total ignorance is a route that I’ve seen a lot of people do in the past. It’s a good escape hatch to use when necessary. The typical sophisticate has a strange tendency to want to be knowledgeable about everything. Or at least appear like they are, even if they’re not. It seems important to maintain one’s currency in certain matters (popular television programming, movies, music, politics, alcohol, current events, etc.); It keeps you in the conversation and demonstrates that your tastes mirror those of others— very important for maintaining social standing. However, sometimes the trump card is admitting ignorance.

Admitting ignorance basically does one of two things: either it suggests that the ignorant person is above the fray, or it suggests that they are an outsider who can be schooled. The first of these two leaves someone open for assault on their tastes since it implies that categorical dismissal of a topic (e.g. music) is the result of a selection of something else that’s superior (e.g. film). However, the second leaves one unassailable on grounds of taste. After all, how can you criticize someone’s consumption habits if they come clean upfront that they really don’t know what they’re talking about? Not even the most callous of record store employees would criticize on those grounds.

Playing ignorant is a great strategy to use if it’s true. But on the other hand, pleading ignorance can also be a dishonest way of preemptively truncating any line of questioning that might legitimately address issues of taste. That is, someone who actually knows something about music might, when questioned, demur on grounds that actually, er, they don’t know anything, huh huh. It’s almost a sort of nuclear war of cultural capital where you talk a good game until you see the stockpile of weapons the other guy has, and then you back down and pretend that you weren’t really planning to fight for real. It’s actually this strategy that I’ve seen a lot of. No matter how hollow it might ring to me, somehow I always find it kind of a charming tack.

One way that marketers have cracked the puzzle is not by defying the tenets of post-modernism through a refusal to play the game, but by actively embracing it. Take diversity to an extreme level. Jack radio has done pretty much this. Stations with this format don’t commit to a genre at all. They just play, in their words, “what we want,” which apparently means that they don’t pay particular attention to genre, they don’t pay attention to era. Everything is just thrown together into a blender and spat out over the radio. Jack radio has been gaining popularity since it started a few years back, and for good reason: kids of this generation are not as committed to genre as they once were. A couple decades ago, metal kids listened to metal, punk kids listened to punk, and rap kids listened to rap. I can remember a few years ago when the definitive “indie” music review site Pitchfork reviewed an Eminem album; it was the first non-indie album the site ever reviewed. The backlash was fierce. Its readers were incredibly upset that this site, which was ostensibly a champion of indie music was now reviewing a mainstream rap album. Accusations of selling-out were bandied around and emailed to the site with alarming frequency. It’s hard to imagine this happening now; indie rock kids now brag about listening to both indie music and top 40 radio. Many simply don’t make a hard distinction about the two. Music is music.

A Jack station might be a convenient ‘out’ for the situation I was describing. It both offloads the DJ’ing onto someone else (the station), and it’s hard to criticize on genre grounds. It would have been a good solution. But here’s the one I went with: I didn’t play music at all.

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Just Follow the Script!

why we do what we don’t want to because we’re supposed to

Posted 2009-08-05 16:04 in culture, hyperreality, postmodernism, semiotics


I’ve taken a recent interest in how we’re driven by life scripts to behave in certain ways that we normally wouldn’t, simply because we’re “supposed to.” Take for example this story that my friend Liz was telling me (some details have been changed because to protect identities):

Liz had some friends who were getting married. As is the ritual in the United States, the groom attended a bachelor party held in his honor. Often these take place in seedy topless joints or private rooms where a stripper titillates the bachelor and his friends. The part that was odd is that none of the participants of this bachelor party had ever been to a strip joint, and none was particularly comfortable with the idea of doing this. But they did it anyway because that’s what you’re supposed to do. It was a bachelor party, after all.

Perhaps here, this bachelor party script, even taken as a semi-comical trope that has been the subject of many bad (but highly profitable) “buddy” movies, is rather revealing about our latent attitudes as a society. Viewed on an symbolic level, this would suggest that Americans— particularly men— perceive marriage vows (perhaps humorously, perhaps not) as a set of shackles and chains that essentially prevent them from engaging in philandering, sex romps, and various other fun sexual indiscretions. This is while simultaneously enjoining and celebrating the view of marriage as a sacrosanct state that we should all cherish and take enormous comfort in.

But I found the behavior of these bachelor party participants exceedingly curious. Why would a large leaderless group of individuals engage in behavior that none of them really wanted to (apparently not even the groom, who the party was being held for)? Why would they not just design an event that would be more meaningful and entertaining to them on the level they thought more appropriate given their values and states of mind?

Perhaps it is because this situational life script (more charitably described as a “custom”) told them that if they didn’t do this strip joint thing, they weren’t having a “real” bachelor party. This script promised an authentic bachelor party experience (the kind seen in the movies!)— an experience that apparently none of them particularly wanted or felt comfortable with, but also didn’t want to feel like they were robbed of later, perhaps because saying they’d been to one could offer some social currency or sensation of a life well-lived in the future.

I’ve noticed these recurring scripts as well:

Scripts seem to be part of the social contract we sign when we join this earth, or more accurately, join certain groups. We are supposed to act a certain way and do certain things that conform to certain expectations at certain times. Even if you don’t want to do it, even if no one wants to do it. Don’t rock the boat. Just follow the script.

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The Symbolic Value of a Beer

how much meaning is embedded in a single beverage?

Posted 2009-07-31 11:03 in branding, culture, marketing, politics, postmodernism


The so-called “Beer Summit” occurred today. The premise of this meeting between Barack Obama, Henry Louis Gates, and James Crowley— a Cambridge police officer— was the culmination of a lot of recent speculation about latent racist attitudes, profiling, and the state of race relations in America. The event hinged on an incident in which Gates was trying to get back into his house after apparently being locked out, and being challenged by a white police officer for appearing to be breaking-and-entering. Allegations about police making assumptions about black men committing crimes were made and it soon turned into the subject of a national debate.

But Obama, ever the diplomat, invited the parties over to the White House garden for some beers (one each) and a bit of mano-a-mano discussion. A lot could be said about the political nature of this event, but what I’m interested in is what apparently the media made a big fuss about: the beer that each individual was going to choose to drink at this event.

It’s fascinating that a single beer could be so embedded with symbolic meaning. This is the nature of the post-modern world, in which many brands are reservoirs of symbolism and fit so prominently into the public’s schemas about social groups. As I mentioned in a previous post, David Foster Wallace once commented that he’d read books in which a character’s personality could be succinctly conveyed simply by naming the brand of T-shirt the character wore. That’s how much meaning we associate with certain brands. Thus, it was a matter of apparent great symbolic import what beer these gentlemen were having on this momentous occasion.

Gates, a Harvard professor, chose a Samuel Adams Light, while Crowley chose a Blue Moon (with an orange slice). Obama, ever the epicurean (what with his much-ridiculed taste for arugula), chose Bud Light. This invites the question of why, if you were the ostensible leader of the free world, you would ever choose a Bud Light. Maybe I’m more of a beer snob than I realize, but of all the world’s beers I could choose, Bud Light would be somewhat at the bottom of my list. Perhaps I am being a bit presumptuous here, but it seems highly unlikely that a man of Obama’s stature and taste would voluntarily choose a Bud Light if given unrestricted choice.

But of course, we have to think about the symbolic value of his choice. Bud Light is the best-selling beer in America, and has been since 2001; apparently it accounts for a massive 22% of case sales in the United States! It carries with it so many symbolic, populist overtones. It’s what any blue collar American would drink. Not like that elitist, hoity-toity microbrew stuff, and especially not one of those foreign beers that wasn’t brewed on our shores.

According to a Republican strategist quoted in an article from Bloomberg, Obama is “trying to send a message that he’s an average American… [He could] complicate that by making an exotic choice, or an import, or too expensive.” Indeed, imagine what the news sources would say if he drank, say, a Heineken, a Sapporo, or a Sierra Nevada Pale Ale. He was already skewered by Fox News’ Sean Hannity for asking for Grey Poupon at a diner several months ago.

There is a rather unexpected complication to Obama’s choice, however. Budweiser was sold to the Belgian company InBev back in July 2008, making Bud Light not quite an American beer. Sure it’s brewed here and it’s a traditionally American brand, but it’s no longer owned by an American company, so perhaps it can’t be viewed as wholly American as say, Coors.* Nevertheless, I think most Americans probably still view Budweiser as a culturally American beer and don’t really know much or care much about the location of the headquarters of the huge international beverage conglomerate that owns it.

Bud Light, viewed strictly on symbolic terms and with the intent of being an uncontroversial choice for a nation who, during the 2004 presidential election was inexplicably obsessed with choosing the candidate who one would most like to have a beer with, was a good selection. It’s a best-seller, has no particular subculture attached to it, and is sold pretty much everywhere. It’s hard to beat that. As Al Ries, an Atlanta-based marketer told Bloomberg, “Leading brands tend to be a very safe choice for a politician because, in a sense, they’re saying to the public, ‘You picked it, not me. I’m just reflecting your choice.’”

Interestingly, little commentary has been made on Crowley’s choice. The police officer was easily the most blue-collar fellow at the table, and chose what is probably the most “elitist” beer (if such a concept can be meaningfully applied) in terms of popular conception. Most people likely have not even heard of Blue Moon as it is the type of beer that is typically served in “uppity” and yuppy-type hangouts, not roadside dive bars. In reality, however, Blue Moon is rather surreptitiously brewed by Coors, though they do not advertise this and do not have the Coors name listed anywhere on any Blue Moon products. The company (rightly) assumes that the Coors name will reduce the brand equity of this macrobrew masquerading as a microbrew.

Gates’ choice was a sensible one; he lives in Cambridge, just outside of Boston, and he chose a beer that is brewed in Boston, perhaps a symbolic nod to his affection for the area despite his recent conflicts.

All in all, somewhat interesting choices made by all three gentlemen. I would, however, have loved to hear what kind of public commentary would have been made had Obama chosen the ultimate in a confounding beer with multiplex meanings: Pabst Blue Ribbon. Is he kowtowing to rednecks? Bikers? Hipsters? Cheapskates? In a perfect world, he would have chosen it, and it would have been a wonderful and puzzling mystery to unravel.

* You could tell that around the time of the sale of Anheuser-Busch to InBev that the company got kind of nervous about how its customers might perceive this traitorous act of selling out a quintessentially American brand to Europeans; they responded by creating and heavily advertising something called Budweiser American Ale, repeating the world “American” many times in the ads to reinforce the idea that this was a American drink.

Further reading:
1. The Bloomberg Article
2. “How Brands Become Icons: The Principles of Cultural Branding” by Douglas Holt

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The Youthful Search for Authenticity

in which we borrow images to ‘forge’ ourselves

Posted 2009-07-16 11:57 in consumerism, culture, experiences, human nature, postmodernism, semiotics, unfinished thoughts


People of my generation despise authenticity, mostly because they’re all so envious of it.” – Chuck Klosterman, “Killing Yourself to Live”

The above passage is from a chapter of a book called “Killing Yourself to Live” in which music writer Chuck Klosterman discusses the Great White nightclub fire in Rhode Island a couple years ago, in which 100 people died due to a pyrotechnic mishap. Being that this was in a small, lower-middle-class town, the crowd was made up of blue-collar types who were actually (perhaps unbelievably) fans of the band. Klosterman was contrasting this audience profile with those of the many big city shows he’d been to where washed-up bands like Great White would play long after their primes to crowds half full of hipsters who were just there “ironically” so they could mock the music and scoff at those who were genuinely into it. Klosterman suggests that these hipsters scoff at these true-blue fans because they want to express being above liking things, because they can’t stand to be genuine.

The sentiment expressed in the quote is an interesting one, but I’d make a slight, but significant alteration; the word “despise” should really be “crave.” This, of course, renders the phrase a considerably more obvious one. Yet, for the most part, Klosterman’s observations resonate with me; I’ve noticed that people of our generation often have weirdly amorphous personalities and images, shifting wildly based on social circumstances and how those circumstances can be manipulated for social capital. Our generation seems fixated on self-awareness as its own virtue, and is highly obsessed with carefully controlling and crafting our images in the eyes of others through symbols whose meanings likely did not carry so much symbolic weight in identity construction just a few generations ago (clothes, vehicles, online personalities, musical taste, etc.).

Anyway, as I see it through Klosterman’s lens, the reason the indie kids of this generation can’t stand to be genuine is because they grew up entitled, in sheltered environments in which they never had to endure hardships. Their entire personas were cobbled together by borrowing images they liked, never borne organically from their own experiences. These images they adopt are never their own; they are fashion objects, constantly subject to the winds of change and shifting public opinion.

Because of the postmodern focus on image and its central import in identity, choosing images and consumer goods to be associated with are critically important decisions; no one wants to be associated with images that may turn out unfashionable or appear to suggest that a person is, in fact, a loser. Therefore, it’s easier to just reject them all (at least publicly), or to simply adopt them “ironically.” But clearly, we can’t be free of symbols entirely. The ubiquity of symbolism in nearly all consumer goods is an unavoidable byproduct of a post-modern era; everything we see forces us to think about “what kind of person would own that” and form schemas about these individuals.

Therefore, such individuals bitterly resent those whose life experiences are more “authentic” (read: difficult and uncomfortable) than their own, because such trying experiences are never unfashionable, and those who have endured them are never subjected to the plaguing self-aware scrutiny that everyone else has to deal with. Living through hardship engenders respect, never mockery. Thus, these entitled kids want nothing more than to have had some hardships— “grit” as Klosterman puts it— to confer them authenticity. There is nothing authentic, as these people see it, in their comfortable upbringings. Their lack of unmolded identity is a source of inner conflict because it forces them to constantly question their symbolic choices.

The ubiquity of multiplicities of divergent images, tropes, and cultures has given us license to treat our personalities like clothing that can be switched at will. On one hand, this allows a sense of psychological freedom to be whatever we want to be; but on the other hand, I think many people born into this postmodern world feel like they don’t have a “baseline” self that is grounded in anything that wasn’t calculatingly copied from something else they perceived as authentic or identity-conferring in a categorical sense (e.g. “punk”, “skater”, etc.).

There are some people who lead the way in cultural transformation, but they account only for a small fraction of individuals. Most of the rest are what academic and sociologist Doug Holt describes as “feeders”— basically, people who crave brushes with authenticity, and who just copy what the innovators are doing, often without the understanding of where those ideas came from. Since they can’t lay claim to the authenticity, having been deprived of the experiences that created them, they settle for the next best thing: adopting the symbols of it. And since the symbols are the easiest way for outsiders to categorize people (e.g. torn jeans and a mohawk means ‘punk’), that works out just fine for feeders.

This generation’s youth craves authenticity, but rarely one that they can have (that is, one they are genuinely entitled to through experience); it’s always someone else’s authenticity that they wish they could have.

But perhaps it’s not limited to youth; we engage in such activities largely as a means of arriving at a manufactured authenticity that constitutes our ‘image’ at any given point in time; the bevy of images we’ve been presented with for all our lives through media have, ironically, taught us not to want the real authentic with respect to ourselves, but instead to want something we can’t have, but which we can fake well enough to convince others. Our true self, it seems, can be manufactured through symbols.

Comment [10]




Deconstructing the Hipster and Youth Culture Movements

just another youth movement or a revolutionary departure?

Posted 2009-05-04 11:12 in consumerism, culture, postmodernism


The following is a response to this article from Adbusters, which seeks to dissect the curious and ubiquitous hipster subculture. On the whole, it is a highly dismissive article that sees few redeeming qualities in this way of life. The author views the hipster as the culmination of a Western fixation with conspicuous consumption and self-absorption. In other words, it does not paint a pretty picture of hipsters. What follows is a two-part commentary about the article, which consists of my response to the article, followed by a response by an insightful friend who wants to be called “Derry.”

Response by Rahul
This article is as hilarious and ugly as the scene itself. While I find many of its observations incisive and funny, it’s hard to argue that the hipster scene is derivative and unoriginal as the author claims. In fact, he has given dozens of details about behaviors and artistic movements within hipsterdom that are essentially original— like fixations on fixed-gear bikes, odd mixes of disparate music, and obsessive photo-taking on old-school cameras. The author’s argument seems to suggest that these are not valid expressions in themselves, but instead are gross, consumerized actions in which identity is created through purchasing power. I find this a somewhat curious and circular argument to make, as the way he is identifying people within the movement is by looking at the products they carry with them (fixed-gear bikes, non-prescription glasses, keffiyahs); By his definition, someone who has certain possessions, looks a certain way, or attends certain parties is a hipster, so naturally the conclusion he’s going to come to is that hipsters base their identities on consumption patterns.

Still, it is probably true that through such unifying signals that scenes coalesce in the first place (of clothing, you could say that beats had those black shirts, grunge guys had flannel shirts, country guys have cowboy hats, hippies had tie-dye, etc.). Yet, the author seems to argue that hipsterdom is an outlier from other youth scenes throughout history. I would challenge the author to find a youth scene anywhere in history that cannot be criticized on the same terms that he criticizes hipsters on. I think it would be hard, because, like the author, we identify those scenes largely by their visual aesthetic, not by a collective ethos— if that term can even be reliably applied when discussing a scene. Sure, we have some vague ideas about what certain movements stood for, but ultimately, we call someone a hippie because they smoked dope and wore tie-dye, not because they were against the Vietnam war. Some guy who was against the war doesn’t automatically gain admission into the hippie movement on account of his political views; first and forement, he has to look the part. Even aside from that, is it even possible to ascribe a unified ethos to a movement (e.g. did all hippies embrace ‘free love’ or did some of them just want easy sex?; were they all against Vietnam, or were many of them indifferent to it?).

Admittedly, I do not particularly relish the hipster movement by any means, but that may be simply out of envy for those in it. Hipsters are young, having fun, they seem to have tons of friends, they’re fashionable, and are privy to a vibrant arts scene. Of course, there’s something that rubs me the wrong way about hipsters (vacuity and self-obsession come to mind)— but once I start thinking about it, it’s hard for me to put my finger on exactly why any of this might be problematic. Lots of people are vacuous and self-obsessed, and I don’t invest particular time in condemning them; such people seem to make up the bulk of Western society, and likely the world. Hipsters are having fun while they’re young, and they’re not really hurting anyone, so why should I care what they do? Rampant consumers they may be, but a scene that is divorced from commerce would actually be the exception, not the rule; groups forms largely due to similarity in consumption patterns (shared aesthetics in music, books, TV, clothes styles, etc.— indeed, defining lifestyles as being similar largely hinges on consumer consumption habits).

Besides, it’s hard to tell from this vantage point what cultural contributions hipsters might have in the long run. There’s too much data (fashion, music, etc.) for bystander to effectively parse at this stage; we need time to separate the wheat from the chaff. Maybe in 10-15 years it would be clear what hipsterdom has given modern society, but before that time comes, it seems like a pre-emptive dismissal to write off the whole movement as worthless and self-indulgent. Such criticisms have been leveled against every youth movement during its time.

Response by Derry
While I agree that most, if not all, youth subcultures could be justly criticized on the same terms as the author uses to criticize Hipsterdom, I believe that Hipsterdom is, in a sense, an “outlier” of youth subcultures. Past subcultures, such as the hippie, punk, and grunge cultures, seem to have been at least the partial result of philosophies of anti-establishment that stemmed from objectionable views of mainstream society. Hippies were identified, in part, by their shared opposition to the war in Vietnam. Sure, many “hippies” were simply along for the ride, looking for an easy way to get laid, but the initial catalyst of Hippiedom was, I believe, a result of genuine repulsion in regard to the Vietnam war and the American public’s widespread paranoia and fear regarding Communism. Without that societal catalyst, I don’t think hippies would have found the reason to band together. Grungers rebelled against the vapid materialism of the 80’s, creating and listening to music that was an abrasive rebuke of the antiseptic synth-pop of Phil Collins and of the extravagant lifestyles of coke-sniffing yuppies.

What is the unifying cause of Hipsterdom? Does it even have a cause? Unlike past subcultures, I don’t think its cause is rooted in anti-establishment philosophy or an opposition to mainstream society. Instead, I think (as does the author) that hipsters are simply a bunch of privileged white kids trying (in vain) to appear genuine; to escape the shame and guilt of leaving a consequence-free life, free of responsibility and without any true cause to support. Hipsters are even ashamed of their own hipsterhood, as most will deny that they are, in fact, hipsters and will get angry at the insinuation. I doubt the same was true of hippies, grungers, punks, or even Goths, who wore their labels proudly. Why the difference? I think hipsters, unlike past subcultures, don’t really have a reason to exist, a unifying struggle against mainstream society that defines them. They are the post-modern youth subculture; a subculture whose defining cause is their lack of cause and apathetic dismissal of anything that gains mass appeal (i.e. their dislike of good music because it becomes popular). I suppose this still counts as a “cause,” but I am arguing that this cause is dramatically different that the anti-establishment and reactionary causes that propelled past subcultures into existence.

Regarding the clothes and products that these subcultures display; every tribe needs a way to communicate, and the way members of a tribe dress and behave allow them to find each other. This is true for any tribe, not just youth subcultures, from religions (yamikas and crosses) to sports fans (jerseys). The fact that these tribes have identifiable clothing does not, by itself, make them shallow. Hipsters, on the other hand, do not seem to have a unifying cause and, as a consequence, I think their clothing and attachments to particular products appears to be shallow, representing nothing beyond itself. Hippies wore tie-die shirts, which identified them as hippies, but this identification meant something. It meant that they were affiliated with a group that espoused anti-war, free-love views. There were some hippies, as you point out, that just wore the tie-die shirts but didn’t share hippie ideals, but that doesn’t change the fact that there was a unifying set of views and causes that defined Hippiedom. When you see a hipster with non-prescription glasses and a torn vintage tee, you don’t think of the cause that the subculture represents, because there is no meaningful cause. WYSIWYG. There’s really nothing to it, at least nothing that I can put my finger on.

I suppose nothing is wrong with being a hipster. As you said, who am I to give a [expletive deleted] about what people do and how they dress? If they are having fun and feel a sense of community, good for them. But I think that hipsters do represent an outlier of youth culture for the reasons described above.

Brief Response by Rahul
One thought: you mention the inability or unwillingness of hipsters to self-identify. I believe the reason for this has everything to with the underlying ethos of the hipster movement: unyielding individuality and non-conformity. The entire movement celebrates idiosyncrasy, eclecticism, and a lack of adherence to what is perceived as societal norms. This is somewhat ironic in my view, since clearly there is some, perhaps large, level of uniformity in the symbols depicted within this group. Nevertheless, admitting to being a hipster is tacit acceptance of conformity to a group, which is anathema to the most important facets of hipster ideology, the uniqueness of the individual. In other words, acceptance of the “hipster” title paradoxically violates the very premise of the group’s collective ethos, and preservation of self-identity will disbar anyone from doing it. Weirdly, this means that hipsters as a group do not exist to hipsters, but only to outsiders!

Do you have any thoughts on the hipster movement? Post in the comments!

Comment [1]




The Business of the Hyperreal

the ubiquity of imaginary places

Posted 2009-04-13 18:18 in branding, epistemology, experiences, hyperreality, postmodernism


At one of the big casinos in Las Vegas, you’ll find an elaborate scene that perfectly captures the beauty of Venice. There, you can sit aboard a slow-moving gondola with your sweetheart, while a mustachioed Italian man quietly ferries you from dock to dock. All the while, the gentle aroma of Ciabatta bread wafts through the air, and the warm sound of a concertina drifts through the background. The entire experience is one that perfectly reconstructs the feel of Venice.

The only thing is, if you went to the actual Venice, you would never have an experience like this. You can ride a boat in the real Venice, but it won’t be romantically quiet, there won’t be the smell of Ciabatta bread, and Rossini won’t be playing. Instead, it would smell like bilge, the ferryman will be hurrying to get you to your destination because he can make more money if he gets more passengers, and the only sound you’ll hear is the sound of water splashing all over your clothes.

Yet, despite this apparent artifice, you can identify this scene as Venice. It’s impossible to mistake it for anything else. This scene in Las Vegas recreates the idyllic, popular conception of Venice, the Venice that resides in our minds. This Venice is a place that does not exist in real life. It is a composite of pieces of our collective consciousness. It’s all the things we’d expect to see, hear, smell, and sense in Venice, but which don’t really coalesce in this way when you’re actually there.

This concept is known as hyperreality. It’s such a strange concept, but it’s one we’re all intimately familiar with in some way, because hyperreality has been sold to us in so many ways, and on a daily basis. Disney World has been described as the ultimate expression of hyperreality— and it’s one of the first vacation spots that many children around the world go to, and it creates many people’s impressions of other countries. Some of our most enduring perceptions about what romantic relationships are ‘supposed’ to be like and the way we’re ‘supposed’ to act in them stem from the way we’ve seen them in movies. The way we think women are supposed to look (including such things as ideal weight and flawless complexions) are rooted in heavily-touched up photos that have little to do with reality, but everything to do with a reconstructed, idealized reality.

The reason I bring all this up is that the other night, I went to a bar that I had never been to before. The moment I walked in, I felt like I had been transported somewhere else. The decor was somewhat anachronous; there were antique-looking green Victorian style chairs arranged around dark, ovular wooden tables, the walls were filled with bottles of obscure beers and liquors I’d never heard of before, the wood-framed bar looked like it was from another era entirely. The ambiance generally reminded me of what I imagined a somewhat upper-crust English pub would be like in the 1950s, where corpulent, monacled gentlemen might tease their handlebar mustaches and puff away at their tobacco pipes while perusing the Sunday Times.

We see places that try to re-create themes from popular consciousness somewhat frequently. Think of T.G.I. Friday’s, a corporate restaurant chain whose walls are covered from top to bottom in weird, rustic nostalgia that manages to both capture the oddest fringes of Americana while presenting it all as a completely normal and commonplace series of images (when was the last time you ate dinner next to a 20ft long wooden swordfish wearing a Brooklyn Dodgers baseball hat— besides the last time you were at T.G.I. Friday’s, that is?). Oddly, this forced aesthetic of post hoc historification and semiotic mythmaking is comforting for many people. But that’s a particularly extreme example; I’ve been to plenty of Mexican restaurants that try to simulate the experience of being in small-town Mexico with the aid of huge murals; townscapes replete with children playing in the street, lifesized buildings painted on the restaurant walls, and pastel-colored senoritas standing on flowered balconies and under large arched doorways.

But something unsettled me about this bar I was at. There was a shaggy green carpet underfoot (which incidentally is not the type of flooring you typically want in a crowded bar), and the place had the musty smell of genuine antiquity. This place, it seemed, really had been around since at least the 1950s (a notion confirmed by the menu).

And then it struck me what had been bothering me. The sum total of my lifetime experience with these sorts of themed pubs had been with re-creations and remodeled versions— never with the real thing. And now, here I was at the real thing! My impression— and expectations— of what a place like this was supposed to be like was based entirely on hyperreal simulacra of it, pieced together from such places as spy movies, books, television shows, and other themed establishments. When you see the “real” version of a hyperreal place, I tend to think that you’re not really prepared for it because it has a way of defying your rather unrealistic expectations of it— which creates the very bizarre problem of something authentic ostensibly lacking authenticity.

If your image of something is based on an idealization of it, how can the real thing ever hold up? An idealization usually means that the gaps are all filled, the blemishes smoothed away, and the diffuse themes that define a place or idea are effectively condensed into a consistent, concrete, and easily digestible series of images; such simulacra allow you to imbibe prevailing themes very quickly, where by contrast the “real thing” typically takes some time for your mind to synthesize into a overarching gestalt.

The implications of this are curious. What does this mean in a world filled with images— manipulated, editorialized, and spread across the globe through various digital channels? These images will form our impressions of the world around us, whereas in the past, our own experiences were what defined our understandings of the world. Will everything we ever see in real life from here on out be a replication of something we’ve seen in a movie first? Which is the real when the fake is our first experience, and hence the first real to us? And what does all this mean to our interpretations and expectations of reality and our interactions with the world and our peers?

And now that I step back a bit and reflect on my experience at the bar, I have to face an unusual epistemological question: how do I know that this place I was at was a “real” bar that was essentially unchanged from the 1950s?

Comment [2]




A Thought Before the 2008 Presidential Election

Posted 2008-11-03 08:41 in human nature, politics, postmodernism


What is the link between the following ideas?

Give up? All these things have no basis in fact. Yet, they are all beliefs that people rabidly cling to no matter what evidence comes up to contradict them.

Like the people who believe these things, some moral and political crusaders spend so much of their lives trying to reinforce and justify their pre-existing opinions that they can’t evaluate new information without experiencing profound cognitive dissonance; they then cling to their pre-existing opinions even tighter to ensure the security of their own identities. These people are called extremists, fundamentalists, jihadists, terrorists, racists, bigots, ideologues, and morons.

To these people, the world is not a complex place; it is a place of black and white, good and evil, right and wrong, “it is” or “it isn’t.” The real world is not this; it is a place of often unsettling gray and ambiguity. And to grapple with it in a meaningful way requires serious independent thought, self-reflection, and a willingness to admit that your thoughts might be inaccurate and plain wrong at times. Reality can conflict even with one’s most basic, gut-level knowledge of “truth.” This is deeply troubling to most people. But we all need to take steps to confront the fact that truth has a way of changing depending on what we know. Perhaps if we take the time to learn more, we can change. Alas, most people do not have the capacity to search for truth or the desire to change; they want to hold on to their old, limited conceptions of the world. And to force them on others.

I heard a reporter talking to a college-age boy about his choice for president. “McCain,” the boy remarked. “He doesn’t want to take from the rich to give to the poor.” This comment was made with the underlying assumption that doing this was wrong. He then went on to admit that he came from an affluent background and that played into his decision. It was a moment that caught me a little off guard, because the unstated subtext of his comment (that perhaps he himself was not even aware of) was that if he were someone else— perhaps a poor person— he might have made a different choice.

But then, if our conception of righteousness is so fluid, and subject to change based on our own current situation and how our opinions might personally benefit us, how then can our thoughts and opinions on issues have any value other than the demonstration of opportunistic self-interest? Should our opinions not reflect attitudes that we would hold regardless of their personal impact on us, or what our situation is?

Perhaps it would be useful to consider the words of Mahatma Gandhi, whose life continues to be an inspiration to me:

“In my life, my commitment is to truth, not consistency.”

Comment [1]




Social Networking and Self-Regulation

the potentially crippling problems inherent in the self-policing realms of Digg and Reddit

Posted 2008-09-28 07:15 in economics, experiences, human nature, improvements, marketing, politics, postmodernism, social networking, unanswered questions


Social networking websites are the big thing right now, not just for armchair sociologists and online businesses, but also for academics. They serve as sort of a vacuum where you can observe interactive behavior from afar in a venue that didn’t even exist just a few years ago.

Two of the sites that get a lot of the attention are Reddit and Digg. These sites are not like Facebook or MySpace, in that they are not pages in which you create profiles for the purpose of having your peers come check you out and find out what music you like. They are essentially link portals that allow users to submit content (links) and allow users to comment on those submissions. They also give users the ability to “upmod” or “downmod” submissions to indicate, respectively, approval or disapproval of said submissions, comments, and links. It’s supposed to be an egalitarian means of aggregating a collective response of the userbase to a submission, and to show others how worthwhile a contribution might be, and to establish a feedback mechanism to the poster.

Keeping count of ups and downs encourages good comments and submissions, and can be seen as a preventative tool to keep out trolls, spammers, and people who say don’t make worthwhile contributions to the public discourse. And like the Roman gladiator battles of old, the idea is that a preponderance of upmods will spare the life of a well-written or interesting contribution, while downmods will effectively slay it, striking it from the viewing grounds.

In theory, it’s a very good thing. Over humanity’s existence, and particularly over the past 15 years, there has been a glut of information flooding into the public sphere at a rate that seems to only accelerate. It become increasingly necessary to more effectively filter what reaches our eyes in order to make our limited time more meaningful. In other words, there’s a lot of junk out there, and you don’t want to waste your time reading it; you want to get to the good stuff immediately (this attitude probably is problematic in its own way, but that’s a different story entirely). These social networking sites help you put mass consciousness to use in achieving that agenda.

For a while this was being considered as the way that private citizens were finally going to wrangle the big bad world wide web and all its anarchic tendencies; finally the masses would be able to collectively wrestle power away from the disproportionately powerful spammers and media corporations, and regain control of the discursive sphere that the internet was always meant to be.

Alas, the debilitating cracks have already formed in the foundations of this well-meaning institution.

Digg was working fine up to a certain point, where articles were being upmodded based on merit and interest, but this utopic system was eventually usurped by an organized network of users operating on a platform of quid pro quo, in which users would agree to upmod another’s comments and submissions in exchange for similar treatment to their own comments and submissions. These rogue networks expanded, using Digg’s proprietary “friend” system, in which a user can befriend other users and monitor each others’ activities with ease. Pretty soon, the entire front page of the site, which was once supposed to house an aggregated list of topics that the entire userbase considered important, was commandeered by people subverting the system through mutual backscratching, thereby annihilating the democratic ideals of the site.

To this day, despite 150,000,000 page views a month and thousands of content submissions per day, the same 20 people’s submissions make it to the front page every day. This, of course, basically makes Digg the equivalent of a mainstream media outlet that uses editorial discretion to filter content, except in this case, it is not exercising supposed meritocratic discretion (“what are the important issues of the day?”) so much as they basically just have a staff of 20 contributors who are going to automatically have their voices heard, while everyone else is basically forced into a consumption role.

So much for that.

It was then that we looked to Reddit to become the site that would cradle our highest democratic ideals. Many Digg users jumped ship to come to Reddit after being disgusted with the downward slide in content quality at Digg. But soon enough, Reddit too was destroyed— but not by the same system as Digg. It was leveled by a much more subtle and insidious form of cancer.

Reddit had always prided itself on being a more thoughtful and educated mass of users than Digg, always mocking Digg for its tendency towards childish humor and ad-hominem verbal sparring. Reddit, on the other hand, was a site that was sophisticated, and more prone to having mature dialogues about subjects that were served more by complex dialectics than verbal drive-bys. But ultimately, this user self-perception and self-selection, combined with the “modding” rights of all users created an ideological vacuum that threatened the very foundation of the site through its own exclusionary behavior.

To understand how this happened, it is relevant for us to first understand what happened in a more concrete sense.

At the moment I am typing this, the front page of Reddit is littered with anti-John McCain/Sarah Palin articles that seem to recite various sensational or seemingly biased positions against them. This is not in itself a problem, but as a supposedly non-partisan site, it has repeatedly been shown that anti-Obama submissions get downmodded into oblivion. Reddit is now essentially a clearinghouse for liberal rhetoric, where every single anti-Republican and anti-progressive screed on the world wide web can be found, being upmodded by users who are probably only reading descriptions of articles rather than full articles, and who are voting based on ideology rather than quality.

Spend a few minutes on the site, and you’ll see liberal comments regularly upmodded (or at least not downmodded), and you’ll see conservative comments downmodded like there’s no tomorrow— with no apparent value put on the complexity or discursive quality of the comment.

Remember, upmodding and downmodding are supposed to be reflections of user opinion on submissions. The issue here is that there are many reasons why users might not like an article, and without consistency in voting patterns, it descends into a meaningless mush of upmod/downmod numbers.

Therein lies the problem with this form of social networking. Upmods and downmods do not carry with them a single unique and transparent value. A downmod does not necessarily mean “I thought this comment was bad on the merits of its thesis”; it could mean “I disagree with you ideologically.” It could even mean “I don’t like this user,” or “I don’t like this user’s username.” All this tends to render whatever submissions are highly upmodded or highly downmodded to be of somewhat ambiguous import— which of course means that anything you are seeing (or not seeing) because of others’ value judgments is based on somewhat arbitrary rationale… which should, in turn, make you wonder why this is such a great medium for brokering dialogue. After all, what if you want to read well-written opinions of people whose ideas differ from the site’s mainstream?

An idealized situation would have separate measures for the any number of factors that might elicit someone’s approval or disapproval: well argued/poorly argued; convincing/not convincing; ideologically agree/disagree; spam/not spam; worthwhile contribution/not worthwhile contribution; stupid username/not stupid username, etc. With such a system, one could theoretically exhibit approval for a contribution on multiple levels but simultaneously disagree on other levels (and let others know it). In this manner, we could read an article that was well argued, but not convincing, that was largely ideologically disagreed with. But we can’t do that now. And that’s too bad, because it forces regular users into intellectual stagnancy. As sociologist Mark Granovetter suggests, it’s actually the people who aren’t in our immediate intellectual circle who are the ones who can teach us things. We already “know” what our ideological peers think.

Of course, this opens up a whole new can of worms because it relies on the ability of users to police themselves in what category of approval or disapproval they choose to give to submissions. Vindictive liberal users might angrily describe an eloquent and well-argued conservative post as “not worthwhile” simply because of their own parochial point of view. This is problematic, and unlikely to be resolved in any meaningful way.

Another reason why this is potentially troubling is because of intersubjective value judgments. What’s worthwhile for you does not match the threshold of what is worthwhile for me. Aggregated over a massive userbase, we’ll end up seeing a sort of middling effect that promotes submissions that basically hug the bottom rung of the ladder of quality. That is, we’ll end up elevating the sorts of things that the most people happen to agree are good. If you listen mainstream radio, read mainstream magazines, and watch mainstream television, you can see why this may not be such a great thing.

Will this ever see resolution? Will humanity’s mainstream be forever condemned to mediocrity in everything it engages in? Will our music, television, movies, literature, politicians, and now content portals all be mediocre? God, I hope not.

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