Years from now, will people really know we ever had a ‘Great Recession?’ How? Will those two words resonate a concrete sense of time and crisis? Or be just another meme football, drawing meaning from shadows cast by shifting contexts?
They can’t know because we today refuse to talk about the Great Recession in its granular reality. We’re a people compulsively determined to pretend it’s not happening.
Of course, there’s ‘talk’. Our lives every day are filled with tactical fluff. Snarky tweets. Cable
news opinion – millionaire teleprompter readers solemnly reading economic numbers like a professional sports summary. The next Obama sound byte merges with the next Republican Debate in a vortex of detachment.
Ephemera. All of it flitting like lifespans of summer fireflies. Easily interchangeable by . . . Tebow, crashed cruise ships, whether
Vanity Fair some magazine bleats is Zooey Deschanel ‘over’? And so on.
That is not how (healthy) societies memorialize and create legacies about one of the great catastrophes of the modern era, the Great Recession.
What then are the actual artifacts that mark a time? In our demotic-oligarchy, the mass memory is defined by pop culture. Even as technology allows narrowcasting and splintering of audiences, the yearning for finding consensual touchstones remains. The spiraling reductionism of a ‘hit’ TV comedy show like “The Big Bang Theory” which both mocks and marinates self-referentially in pop culture is an example.
Let’s look at pop culture since 2007. Is there any break between pre-and post 2007? Anything to reflect the economic collapse and implosion experienced by at least 20-25% of the populace? Put another way, what will one find in a future iTunes/Amazon online product grid to define this time?
Not much if anything. There is no ‘break.’ More than that, pop culture is virtually unchanged. The same franchises lurch on. New IP (as they say) can be about zombies, vampires, rich people in trouble. One painful ‘comedy’ on CBS called ‘2 Broke Girls’ allegedly speaks to the Great Recession. It’s really about 20-something actresses dropping excruciatingly clumsy and rushed innuendo ala the movie Bridesmaids. Apparently, empowerment for women is now to be as crude as bad male characters.
Compare how differently pop culture reacted to 9-11. Pop culture powerfully aided and abetted lobotomizing American society, making it pliable, even willfully complicit in its militarization and constitutional subjugation. ’24’. ‘The Unit’. We could spend hours documenting it all. Movies. Pop songs. Video games. Violence. Power, Kinetic death. Remember the death threats to the Dixie Chicks? U-S-A! U-S-A!
The legacy endures. Much of pop culture today is still excessively militarized or suffused with National Security State memes. One can be a ‘burned’ spy, but the answer is always the same – righteous violence, subterfuge and fast-cut action.
Why are Americans incapable of producing or unwilling to consume mass market pop culture about the Great Recession — a calamity far greater than 9/11? What accounts for the willful refusal to experience it, produce it, consume it, create it?
Imagine a hypothetical college student trying to understand the Great Recession. He or she might come across some photos or video clips of tents in some parks. But what puts them in context? What is the cultural product that gives these random images meaning? The mortgage crisis – there isn’t one scriptwriter capable of portraying the human toll for
an artifact as historical legacy movie/TV show? Or songwriter for a pop album?
Dear Reader, you might well ask, ‘Why the fixation on pop culture?’ Besides demotic poli-sci-sociological riff. People consume pop culture to forget about things, lay off. Except they don’t. The revenge culture of force and violence after 2001 is proof. Every season of ’24’ Jack Bauer killed and maimed countless dark people trying to nuke LA, etc.
There’s something else afoot. It’s an almost child-like refusal to deal with reality in the hopes it will go away? Paramount, Sony, Fox – all of them collectively thinking ‘cooties’ and ‘jinx’.
It’s true there are many books about this or that. Some may survive in a future format even. Yet our definition above specifically sought out *mass* audience because that scope of consumption created a forged common experience (even if audiences have mixed reactions). College kids today know their Robot Chicken. Upton Sinclair, not so much.
Imagine that future college student looking at those tent pictures. Where’s the context? If you answer Hoover-ville, that says more about a reader’s demographic than the likelihood the same historical ‘charge’ in that label’s capacitor will carry forth into the future. Put it this way, a college sophomore today has no living memory of Bill Clinton as president, only vaguely recalls the Bush twilight. They couldn’t even vote in 2008. To them, reading about GHWB might as well be Augustine Rome temporally. Truly.
We submit that a society that can not create and experience X (however defined) about the Great Recession as it unfolds is psychologically incapable of grasping the actual challenge. And a society acting on fear and embracing avoidance only empowers those without compunction who see opportunity.
Our bet that not much will change. Which means that a lot will for those who have to live out that future.