Right now all across America there is a feather shortage. In April, The Billings Gazette reported:

Jewelry-makers and hairstylists have been snatching up the premium chicken feathers used in standby trout-fly patterns, creating a sudden run on a market that’s ill-prepared for significant fluctuations of demand.

“Supplies are just decimated,” said Jim Cox, co-owner of the Kingfisher fly shop in Missoula, [Montana]. “We just can’t get the premium feathers. Even the (sales) reps for the suppliers can’t get them for themselves.”

What began a couple of years ago as a scattered interest in feather jewelry has erupted into a full-on fad for hair extensions made out of long, slender feathers — the exact same feathers used in the vast majority of traditional dry-fly patterns.

The feathers most valued both by fly-tiers and, lately, fashion mavens come from specific types of roosters that are selectively bred to produce long, slender feathers. Such chickens typically take almost a full year to raise before slaughter. What’s more, they’re rare: Only a few dozen commercial breeders exist in America, and most are small operations.

The situation’s getting so dire, American Public Radio’s Marketplace reports, the American Fly Fishing Trade Association is lobbying lawmakers about conservation. Tom Whiting, owner of Whiting Farms in western Colorado, one of the world’s largest producers of fly tying feathers, a third of whose sales now go to fashion, says, “We have orders far in excess of what we have in our system.” With the demand, the prices are skyrocketing. Last week the Oregonian reported a rooster neck of feathers that would have normally cost $29.95, is now selling for $360. A 300% – 700% jump in rooster saddle feather price is now typical.

In fashion parlance, feathers are in. Steven Tyler has been wearing the avian accessories as he judges American Idol contestants. Pop singer, Kesha, rocks feathers, too, even sticking one in Conan Obrien’s hair during a recent appearance on his show. Between Los Angeles’s mercantile meccas of Melrose Ave. and the Beverly Center you can get feather hair extensions, earrings, necklaces; feathers on boots, shoes, tops, skirts, hats, bras, anything. In the summer of 2011, feathers have become a staple of every sartorial and tonsorial aspect imaginable.

The other day I was asked my opinion as to where this current ubiquity of feathers has come from. But as it turns out, I happen to have something better than an opinion: I have an explanation.

Our story begins almost 12 years ago, in a little town in Oregon, by the name of Ashland, where a group of kids came together to start a circus performance troupe called, El Circo. The group would gain recognition within the Burning Man culture for the extravagant parties they threw at the festival, featuring lavish fire performances, a large, geodesic dome venue, and a top-notch sound system that attracted world-renowned music acts to perform there. In a 2005 San Francisco Bay Guardian article on the effect that the various groups within the Burning Man community have had on San Francisco nightlife — an impact which now extends to the entire west coast’s, and arguably global, dance culture — the writer paid particular attention to the influence of El Circo:

El Circo has fused a musical style and a fashion sense that are major departures from the old rave scene. [They are credited] with creating the postapocalyptic fashions that many now associate with Burning Man. Most of the original El Circo fashions, which convey both tribalism and a sense of whimsy, were designed by member Tiffa Novoa.”

Here are some of the El Circo costumes from their 2005 shows:

That same year, just two years out of college, I stumbled into the role of production manager for a newly-formed, L.A.-based vaudeville cirque troupe called, Lucent Dossier. Through that initial involvement with Lucent I would meet many other circus groups, including El Circo, who were by then based in San Francisco along with The Yard Dogs Road Show and Vau De Vire Society. There was also March Fourth Marching Band in Portland, Clan Destino in Santa Barbara, and Cirque Berzerk, and Mutaytor in L.A. As these acts grew, the I-5 Freeway became a central artery of culture, pumping a distinct combination of art, music, fashion, and performance up and down the west coast. A social scene evolved around these circus troupes the same way the punk subculture sprang up around the bands that defined it. For lack of another term, I’ve referred to this subculture over the years simply as “circus.”

In Freaks and Fire: The Underground Reinvention of the Circus, J. Dee Hill delves into the history and sociology underpinning the alternative culture circus resurgence:

Traditional forms of the tribe, like the village, have almost completely disappeared. Fewer and fewer people live in small communities where their daily interactions bring them in contact with the people they are deeply connected to, either spiritually or economically. Workers in modern corporations are replaceable and no longer bound to each other by the experience of a shared interdependence. The modern individual is preoccupied simultaneously by isolating, immediate concerns of personal survival and the larger, often intangible concerns of war, terror and economic change as transmitted by a now-seamless global media network. The intermediate space of community is not easily reached.

Not by accident, many of the newer, emergent forms of culture include a specifically tribal aspect. A return to tattooing, sacrification, fire performance and drumming, as well as a renewed interest in ritual, has occurred side-by-side with the formation of intentional (if temporary) communities such as the Rainbow Family gatherings and Burning Man festival.

It was at these kinds of festivals, in clubs and at underground raves, that alternative circus acts began appearing in the early 90′s. The performers were young, crazy “freaks” without any formal training who used circus costumes, skills or themes as performative means for expressing their own exaggerated personalities. Many went on to gain formal training or to study the history of the genre, but essentially their relationship to conventional circuses resembled that of outsider art to mainstream art circles. They didn’t really relate to the modern-day circus. They took their cues from something much, much older: the caravan-pulling gypsies.

The phenomenon of alternative circus performance can be seen as the theatrical dimension to one generation’s wholesale rediscovery of the concept of tribe.

And the inexorable feather trend is inextricably linked with this trajectory.

Novoa co-founded El Circo along with Marisa Youlden, a jewelry designer whose pieces accompanied Novoa’s costumes from the beginning. Youlden first used feathers in her pieces in 2000 and recalls this was when Novoa began creating elaborate feather headdresses for the performers. “At first, this was all costuming,” The 2005 Bay Guardian article quoted Matty Dowlen, El Circo’s operations manager, and performer, “but now it’s who I am.” The aesthetic Novoa first envisioned for the El Circo performers evolved into the prêt-à-porter of the circus subculture and became its signature style. Feathers, which had come to define El Circo costumes, became an integral component of the subculture’s street fashion:

Yup, that last one is me. You can’t see the feather in this shot, but trust me, it was there. In the early to mid-aughts (when the photos above were taken) the feather was as de rigueur a cultural signifier within the circus scene as the safety pin was for punks in the late 1970s and early 80s. In fact, back before it was so commonplace as to lose meaning (or induce a national feather shortage), condescending terms for those sporting the look sprang up within the subculture: “Feather mafia,” was one I heard thrown around; “Trustafarian peacock” even made it into UrbanDictionary.com. And then, something else began to happen.

In 2005, Mötley Crüe picked circus as the concept for their comeback tour:

The next year, Panic! At the Disco won an MTV Video Music Award for their circus-themed, “I Write Sins Not Tragedies” video:

A theme they then extended into their “Nothing Rhymes With Circus” tour:

And in 2008, the reigning queen of pop herself at the time, Britney Spears, came out with an album titled, Circus, and ensuing tour of the same theme:

Throughout pop culture, traces of circus’s influence would keep surfacing. The same year as Britney’s Circus album, this was the ad for that season’s America’s Next Top Model:

Or take this ad for the launch of Microsoft’s short-lived Kin mobile device from last year:

The proliferation of circus within pop culture has been directly tied to its growth in underground culture, and being in an underground circus troupe during the height of this infiltration offered backstage access to the proceedings. For example: The circus featured in the Kin ad is March Fourth Marching Band. The circus performers in the Panic! At the Disco music video and tour were members of the troupe I managed. The performers who went on tour with Mötley Crüe would become Lucent Dossier members, as well. Last year, Miley Cyrus’s “Can’t be Tamed” music video featured a winged Cyrus alongside a troupe of be-feathered backup dancers inside a giant birdcage:

Which bears a distinct resemblance to the birdcage (not to mention the aesthetic) Lucent Dossier used prominently in aerial performances during their 2008 residency at the Edison nightclub in Downtown LA.

Especially in Los Angeles, where the Downtown underground and the Hollywood pop culture industry coexist within such proximity of one another, their crossover was inevitable.

Which brings us back to fashion. In 2002, designers Cassidy Haley and Evan Sugerman, who’d met at Burning Man the year before, founded a fashion label called, Ernte. Two years later, Novoa joined Ernte Fashion Systems, parlaying the aesthetic vision she’d first developed for the circus stage into high fashion. Tragically, in October, 2007, at 32-years-old, Novoa suffered a fatal drug reaction while working in Bali, Indonesia. By then, Ernte had become a globally-renowned haute couture label, retailing in high-end boutiques like Maxfield in Los Angeles, Collete in Paris, and Loveless in Tokyo. Below are some shots of Novoa’s work:

In 2005, Haley went on to form a new label, Skingraft Designs, with Jonny Cota, and later Katie Kay, who was a partner from 2007 – 2010. All three had circus pedigree. Cota and Haley had performed with El Circo, and Kay was one of the original members in Lucent Dossier, for which Haley and Cota would occasionally moonlight. Some of Skingraft’s early work is pictured below.

Since opening their flagship store in Downtown L.A., in 2009, Skingraft’s “post-apocalyptic couture” has graced the celebrity skins of Adam Lambert and The Black Eyed Peas. Rhianna wore a custom Skingraft headdress in her “Rockstar 101″ music video:

And both Britney Spears’ and Beyoncé’s most recent videos are dripping in Skingraft designs. As Skingraft has evolved into an established name within the vocabulary of Los Angeles fashion, countless other apparel designers with circus origins have sprung up in the wings, as it were.

Over the years since Tiffa first put feathers on the bodies of circus performers, inspiring others to follow suit, hundreds of thousands, if not millions have been exposed to the style at Burning Man, and the E3 gaming convention where El Circo would perform; at Coachella, and the Grammy’s afterparty, where Lucent Dossier performed; at countless night clubs stretching from the depths of Downtown L.A. up the length of the Pacific coast. Hollywood stylists partying on Saturday night woke up on Monday with new inspiration. And circus costumers became famed fashion designers. In the end, this cross-pollination laid the foundation for the exact kind of tipping point Malcolm Gladwell describes in his seminal, 2000 book exploring the social mechanics that lead trends to “tip” into mass, cultural phenomena. The Tipping Point begins with the words:

For Hush Puppies — the classic American brushed-suede shoes with the lightweight crepe sole — the Tipping Point came somewhere between late 1994 and early 1995. The brand had been all but dead until that point. Sales were down to 30,000 pairs a year, mostly to backwoods outlets and small-town family stores. Wolverine, the company that makes Hush Puppies, was thinking of phasing out the shoes that made them famous. But then something strange happened. At a fashion shoot, two Hush Puppies executives — Owen Baxter and Geoffrey Lewis — ran into a stylist from New York who told them that the classic Hush Puppies had suddenly become hip in the clubs and bars of downtown Manhattan. “We were being told,” Baxter recalls, “that there were resale shops in the Village, in Soho, where the shoes were being sold. People were going to the Ma and Pa stores, the little stores that still carried them, and buying them up.” Baxter and Lewis were baffled at first. It made no sense to them that shoes that were so obviously out of fashion could make a comeback. “We were told that Isaac Mizrahi was wearing the shoes himself,” Lewis says. “I think it’s fair to say that at the time we had no idea who Isaac Mizrahi was.”

By the fall of 1995, things began to happen in a rush. First the designer John Bartlett called. He wanted to use Hush Puppies in his spring collection. Then another Manhattan deisgner, Anna Sui called, wanting shoes for her show as well. In Los Angeles, the designer Joel Fitzgerald put a twenty-five-foot inflatable basset hound — the symbol of the Hush Puppies brand — on the roof of his Hollywood store and gutted an adjoining art gallery to turn it into a Hush Puppies boutique. While he was still painting and putting up shelves, the actor Pee-wee Herman walked in and asked for a couple pairs. “It was total word of mouth,” Fitzgerald remembers.

In 1995, the company sold 430,000 pairs of the classic Hush Puppies, and the next year it sold four times that, and the year after that, still more, until Hush Puppies were once again a staple of the wardrobe of the young American male. In 1996, Hush Puppies won the prize for best accessory at the Council of Fashion Designers awards dinner at Lincoln Center, and the president of the firm stood up on the stage with Calvin Klein and Donna Karan and accepted an award for an achievement that — as he would be the first to admit — his company had almost nothing to do with. Hush Puppies had suddenly exploded, and it all started with a handful of kids in the East Village and Soho.

How did this happen? Those first few kids, whoever they were, weren’t deliberately trying to promote Hush Puppies. They were wearing them precisely because no one else would wear them. Then the fad spread to two fashion designers who used to shoes to peddle something else — haute couture. The shoes were an incidental touch. No one was trying to make Hush Puppies a trend. Yet, somehow, that’s exactly what happened. The shoes passed a certain point in popularity and they tipped. How does a thirty-dollar pair of shoes go from a handful of downtown Manhattan hipsters to every mall in America in the space of two years?

Right now, the roosters know, but they’re not telling.

__________________________________

Special thanks for helping fill in the details and history for this post go to: Arin Ingraham, Siouxzen Kang, Marisa Youlden, and Cassidy Haley.

October 7th, I’ll be on a panel at the FutureM Conference in Boston, entitled, “Your Life Will Be A Transmedia Experience (It Already Is).” Sound familiar? Yup, it’s a different take on the theme for a panel of a similar name I’ve got submitted to SXSW, and featuring many of the same cast-members! I’ll be speaking with Marta Kagan, Managing Director, US, for Espresso, and Jan Libby, Experience Designer Consultant at Wieden + Kennedy.

Come and hear about what is, indeed, the future of marketing from the pottymouths who produce the “What the F**k is Social Media?” slideshow franchise, and the smartypants responsible for transmedia campaigns for brands like Levi’s and Scion ! Also, it’s FREE!! Plus! We’ll have an interactive game for all (21+) attendees to play, which is 100% guaranteed to be fun since it will include free alcohol provided by Magner’s Irish Cider! — despite ostensibly leaving my music festival producing past behind me, I still cannot seem to escape being involved with ANY kind of event that doesn’t come with wristbands, even a marketing industry panel! Then again, while much will change in the future of marketing, free alcohol will always be a constant. But space is limited, so

Register to attend now! CLICK HERE

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]]> http://social-creature.com/im-speaking-at-the-futurem-conference/feed 1 http://social-creature.com/eskmo-music-video-cloudlight http://social-creature.com/eskmo-music-video-cloudlight#comments Mon, 23 Aug 2010 20:54:44 +0000 jenks http://social-creature.com/?p=3504 A little (fashionably) late to the party on this one, but  just had to mention this really hauntingly beautiful video for the new Eskmo (a.k.a Brendan Angelides) track, Cloudlight (single is out Sept. 6 on Ninja Tune). I’ve known Brendan, and Dugan O’Neal, who directed the video, from my days producing music festivals. Plus, you might recognize the DP handiwork of David Myrick, and the VFX wizardry of Brandon Hirzel (BEMO) from their collaboration on the Glitch Mob “Beyond Monday” video installation earlier this year.

Enjoy!

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The ‘Source’ in the Distance

Last week, my friend Kris Krug flew down to the Gulf of Mexico on the TEDxOilSpill Expedition, a week-long project to document the crisis in the Gulf and bring a first hand report back to the TEDxOilSpill event in Washington, D.C. on June 28. Kris, a photographer, web strategist, and self-described “cyberpunk anti-hero from the future“ (though, technically, from Vancouver) was there as part of the team of photographers, videographers, and writer traveling through Mississippi, Alabama, and Louisiana documenting the current situation in the coastal communities affected by the oil spill. (Kris’s shots from the expedition have also appeared in National Geographic photo essays: 1, 2, 3).

Talking with Kris — who has been one of the earliest and staunchest supporters of my writing here at Social-Creature (the header image on this site is one of his photos) — he suggested that while it’s not my usual ‘beat,’ if I felt so inspired, I should write some words about this situation.

Early morning thunderstorm off the coast of Grand Isle, Louisiana.

The truth is that there is something in this endlessly tragic mire which I’ve kept thinking about over and over during the course of the now 69 days since the Deepwater Horizon oil rig exploded. And that recurring thought — beyond how devastating and heartbreaking this entire situation is — is how utterly foreign and disturbing it feels to be this completely powerless to do anything about it.

As a generation, mine has not known powerlessness. We have known no great war. No great depression. We were born a decade after the last U.S. draft ended. Our childhoods were filled with images like these:

We were weaned on the sense that something could be done. A single person could stand up to a row of tanks in Tiananmen Square. People could tear the Berlin wall down. People could undo the totalitarian Soviet regime. By the time we got to high school, the Internet had arrived, followed quickly by college and the birth of the social web. The digital revolution added an unprecedented amplification to this sense of our own personal agency. Just over the past few short years we have experienced how sites like Twitter, YouTube, and Facebook have offered platforms for us to do something.

Last summer, the Washington Post called the aftermath of the Iran election a “A Twitter Revolution.” As police tried to suppress demonstrators who took to the streets to protest the declared results of the presidential elections in a place halfway around the planet, Twitter let the world know exactly what was going on, on the ground in Iran even as outside journalists were barred from the country. It was instantaneous, unfiltered, real, and it compelled our attention. The U.S. State Department even asked Twitter to delay scheduled maintenance on the site at the time in order avoid disrupting communications among tweeting Iranian citizens and the rest of the world. Ordinary voices of dissent had never had access to such mass media before, and just bearing witness, just knowing their struggle, just retweeting and communicating was an act of solidarity with those citizens of Iran who were protesting, and an act of defiance against the forces that would have them silenced. It was doing something.

Six months ago, after a 7.0 magnitude earthquake devastated Haiti, a place of no real political or economic importance, these digital tools helped mobilize the aid and compassion of the entire world almost instantly. Within just a few hours a text-based donation service was set up for the American Red Cross’s relief efforts. In just 2 days of the earthquake the program had raised over $5 million from over a half million different mobile phone users. Haitian-born musician Wyclef Jean’s Yele Haiti Foundation, also running its own text donation drive, raised another $1 million. It was a watershed moment. Never had so much money been raised for relief so quickly after a disaster. The digital tools facilitated this, but what drove people to make those donations was the desire to do something even if it was just giving a few dollars to help alleviate suffering.

We humans have such a deep need to feel like we’ve got any sense of agency in our lives, we’ll happily trick ourselves into perceiving we’re in control — or at the very least, that control over chaos is attainable. This proclivity is a large part of why God exists — or rather, why we believe he does. In a 2007 New York Times article exploring possible answers from evolutionary biology as to how we have come to believe in God, Robin Marantz Henig wrote:

Our brains are primed for [belief in the supernatural], ready to presume the presence of agents even when such presence confounds logic.

We automatically, and often unconsciously, look for an explanation of why things happen to us,” Barrett wrote, “and ‘stuff just happens’ is no explanation. Gods, by virtue of their strange physical properties and their mysterious superpowers, make fine candidates for causes of many of these unusual events.” The ancient Greeks believed thunder was the sound of Zeus’s thunderbolt. Similarly, a contemporary woman whose cancer treatment works despite 10-to-1 odds might look for a story to explain her survival. It fits better with her causal-reasoning tool for her recovery to be a miracle, or a reward for prayer, than for it to be just a lucky roll of the dice.

Oil coming on shore.

As an alternative to these external supernatural forces it’s become increasingly popular to reclaim a sense of power in the face of chaos or tragedy by elevating control of our inner selves to this transcendent status of godliness. In Bright-Sided: How the Relentless Promotion of Positive Thinking Has Undermined America Barbara Ehrenreich recounts, in a chapter titled, “Smile or Die: The Bright Side of Cancer,” how getting diagnosed with breast cancer led to her first introduction with the cult of “positive thinking.” The “Pink Ribbon Culture,” she writes, is defined by a mantra of “positive thinking” that is so extreme, at times it paints cancer as a “gift, deserving of the most heartfelt gratitude:”

In the mainstream of breast cancer culture there is very little anger, no mention of possible environmental causes, and few comments about the fact that in all but the most advanced, metastasized cases, it is the “treatments,” not the disease, that cause the immediate illness and pain. In fact, the overall tone is almost universally upbeat. The Best Friends Web site, for example, featured a series of inspirational quotes: “Don’t cry over anything that can’t cry over you,” “I cant stop the birds of sorrow from circling my head, but I can stop them from building a nest in my hair,” “When life hands out lemons, squeeze out a smile,” “Don’t wait for your ship to come in… swim out to meet it,” and much more of that ilk.

The cheerfulness of breast cancer culture goes beyond mere absence of anger to what looks all too often, like a positive embrace of the disease. As “Mary” reports, on the Bosom Buds message board: “I really believe I am a much more sensitive and thoughtful person now. I was a real worrier before. Now I don’t want to waste my energy on worrying. I enjoy life so much more now and in a lot of aspects I am much happier now.” [Another] such testimony to the redemptive powers of the disease: “I can honestly say I am happier now than I have ever been in my life — even before the breast cancer.

One survivor turned author credits it with revelatory powers, writing in her book The Gift of Cancer: A Call to Awakening that “cancer is your ticket to your real life. Cancer is your passport to the life you were truly meant to live. Cancer will lead you to God. Let me say that again. Cancer is your connection to the Divine.”

The effect of all this positive thinking is to transform breast cancer [from] an injustice or tragedy to rail against.

There was, I learned, an urgent medical reason to embrace cancer with a smile: a “positive attitude” is supposedly essential to recovery. It remains almost axiomatic, within the breast cancer culture, that survival hinges on “attitude”…. [the belief] that a positive attitude boosts the immune system, empowering it to battle cancer more effectively.

You’ve probably read that assertion so often, in one form or another, that it glides by without a moment’s thought about what the immune system is, how it might be affected by emotions, and what, if anything, it could do to fight cancer. The business of the immune system is to defend the body against foreign intruders, such as microbes, and it does so with a a huge onslaught of cells and whole cascades of different molecular weapons.

In 1970, the famed Australian medical researcher McFarlane Burnet had proposed that the immune system is engaged in constant “surveillance” for cancer cells, which, supposedly, it would destroy upon detection. Presumably, the immune system was engaged in busily destroying cancer cells — until the day came when it was too exhausted (for example, by stress) to eliminate the renegades. There was at least one a priori problem with this hypothesis: unlike microbes, cancer cells are not “foreign”; they are ordinary tissue cells that have mutated and are not necessarily recognizable as enemy cells. As a recent editorial in the Journal of Clinical Oncology put it: “What we must first remember is that the immune system is designed to detect foreign invaders, and avoid our own cells. With few exceptions, the immune system does not appear to recognize cancers within an individual as foreign, because they are actually part of the self.”

More to the point, there is no consistent evidence that the immune system fights cancers, with the exception of those cancers caused by viruses, which may be more truly “foreign.” People whose immune systems have been depleted by HIV or animals rendered immunodeficient are not especially susceptible to cancers, as the “immune surveillance” theory would predict. Nor would it make much sense to treat cancer with chemotherapy, which suppresses the immune system, if the latter were truly crucial to fighting the disease. Furthermore, no one has found a way to cure cancer by boosting the immune system with chemical or biological agents.

But despite all the evidence to the contrary, you can see the appeal of believing in the power of “positive thinking” anyway, can’t you? Instead of waiting passively for the treatments to kick in, breast cancer patients can now “work on themselves;” monitor their moods and “psychic energies.” In other words, the idea of a link between subjective feelings and the disease, fabricated though it may be, gives cancer patient something to do.

And this applies far beyond cancer, to any kind of overpowering misfortune. “We’re always being told that looking on the bright side is good for us,” writes Thomas Frank, author of What’s the Matter With Kansas?, in a review on the back cover of Bright-Sided, “But now we see that it’s a great way to brush off poverty, disease, and unemployment, to rationalize an order where all the rewards go to those on top. The people who are sick or jobless — why, they just aren’t thinking positively. They have no one to blame but themselves.”

It’s not that we’re assholes. It’s just that we desperately want to believe the world is a far more just place than it actually is. As David McRaney, journalist, and author of You Are Not So Smart, a blog about the workings of self-delusion, writes in a post about The Just World Fallacy, humans have “a tendency to react to horrible misfortune, like homelessness or drug addiction, by believing the people stuck in horrible situations must have done something to deserve it.” Here is the Just World fallacy in action:

Oh, wait. Actually, THAT guy IS an asshole. As is Rhonda Byrne, creator of “The Secret,” who, in the wake of the 2006 tsunami, citing the law of attraction, announced that disasters like that can happen only to those who are “on the same frequency as the event.”

A flock of Brown Pelicans on some rocks in Alabama.

While, clearly, suggesting that the poor little pelicans (or anyone else) signed a deal with the devil or somehow attracted the oil spill upon themselves is just waaaay the fuck further out in looney-land than anyone who is not an asshole cares to travel, at their base, all these delusions are simply coping mechanisms. A way to synthesize a sense of being less powerless than you really are; a way to deal in the face of extreme evidence to the contrary. Because the reality is that feeling like we have NO control whatsoever, like our lives are simply dried up leaves in the autumn winds of chaos, like any choices we make are utterly meaningless and futile is actually terrible for our mental well-being and our health. Note: this is not the same as saying “thinking positive will cure your cancer,” it’s saying that extreme stress factors are, indeed, bad for you. Duh. “Torture a lab animal long enough,” Ehrenreich writes, “as the famous stress investigator Hans Selye did in the 1930s, and it becomes less healthy and resistant to disease.” In a post on Learned Helplessness — McRaney writes:

If, over the course of your life, you have experienced crushing defeat or pummeling abuse or loss of control, you learn over time there is no escape, and if escape is offered, you will not act – you become a nihilist who trusts futility above optimism.

Studies of the clinically depressed show that when they fail they often just give in to defeat and stop trying.

A study in 1976 by Langer and Rodin showed in nursing homes where conformity and passivity is encouraged and every whim is attended to, the health and wellbeing of the patients declines rapidly. If, instead, the people in these homes are given responsibilities and choices, they remain healthy and active.

This research was repeated in prisons. Sure enough, just letting prisoners move furniture and control the television kept them from developing health problems and staging revolts.

In homeless shelters where people can’t pick out their own beds or choose what to eat, the residents are less likely to try and get a job or find an apartment.

Perdido Beach, Alabama

The underlying thread here is always about control, or the loss of it. Chaos is unbelievably traumatizing — personally, and to us as a species. Researchers at the University of California, Irvine, have been studying the impact of the 9/11 attacks on male babies since 2005. Their just recently published findings reveal that in the aftermath of the 2001 tragedy pregnant women miscarried a disproportionate number of male fetuses. In September 2001, the death rate of male fetuses compared with female increased by 12 percent. That’s 120 extra losses in a single month. The theory behind this phenomenon is likely an evolutionary adaptation. Women have adapted to produce what, Tim Bruckner, the study’s lead author and a professor at UC Irvine, describes as “the alpha male.” Which could explain why male fetuses are more sensitive to their mothers’ stress hormones than female ones. When a pregnant woman experiences some sort of crisis — whether personal or not — her male baby is more vulnerable to be miscarried. In times of prosperity and security, male fetuses are more likely to be brought to term, because there’s a greater chance that they’ll be healthy and robust. During periods of scarcity, however, male miscarriages are much more common. Indeed, the phenomenon reported by Bruckner & Co. has been observed before — reduced male birth rates have been reported during other instances of national stress or suffering, like economic recessions or natural disasters.

Surface oil burns in the Gulf of Mexico as part of the oil spill clean-up.

Which brings us back to the Gulf of Mexico and the worst environmental disaster in US history; the cold, strange, numbing sense of a profound national powerlessness seeping in as we see sickening photos of helpless animals drowning in oil. Just thinking about how you can’t do anything about it for too long will make you want to check the fuck out of this whole story. I know. I want, as much as anyone else, to have something to be able to do to make all of this stop.

To a large extent this is completely new territory for my generation. Nationally, we have never been faced with something we couldn’t “do” something about. As the child of parents who lived through WWII, Refuseniks, no less — the 1 and a half million Russian Jews who were trapped in the Soviet Union, denied permission by the government to leave the country, in my parents’ case, for a decade — I know, personally, just how sheltered my generation’s childhood has been in contrast. It’s unprecedented for us. We’ve had so little practice at facing situations where we couldn’t just do something, at fighting them, at living through them. Not 9/11, not the financial crisis, not the wars in between, it’s this oil spill that is my generation’s unfortunate turn to figure out how to stand in the face of powerlessness.

In a Huffington Post piece a few weeks ago on why he “Co-opted BP’s Twitter Presence,” Leroy Stick, the alleged name behind the anonymous @BPGlobalPR twitter account, which posts ingeniously scathing commentary on BP with satire so black as to befit the disaster the company has wrought, wrote:

I started @BPGlobalPR because the oil spill had been going on for almost a month and all BP had to offer were bullshit PR statements. No solutions, no urgency, no sincerity, no nothing. That’s why I decided to relate to the public for them.  I started off just making jokes at their expense with a few friends, but now it has turned into something of a movement. As I write this, we have 100,000 followers and counting. [Currently, almost 179,000]. People are sharing billboards, music, graphic art, videos and most importantly information.

If you are angry, speak up.  Don’t let people forget what has happened here.  Don’t let the prolonged nature of this tragedy numb you to its severity. Re-branding doesn’t work if we don’t let it, so let’s hold BP’s feet to the fire.  Let’s make them own up to and fix their mistakes NOW and most importantly, let’s make sure we don’t let them do this again.

Right now, PR is all about brand protection. All I’m suggesting is that we use that energy to work on human progression.  Until then, I guess we’ve still got jokes.

A small quote of inspiration to the affected fishing community at a bait and tackle in Dauphin Island, Alabama

In the introduction to Bright-Sided, Ehrenreich writes:

Americans did not start out as positive thinkers…. In the Declaration of Independence, the founding fathers pledged to one another “our lives, our fortunes and our sacred honor.” They knew that they had no certainty of winning the war for independence and that they were taking a mortal risk. Just the act of signing the declaration made them all traitors to the crown, and treason was a crime punishable by execution. The point is, they fought anyway. There is a vast difference between positive thinking and existential courage.

We must find that courage now. To keep paying attention. To not tune out the story of this tragedy. To not let futility or apathy or simple delusion take over. We must have the courage to see things as they really are, to bear witness to what’s happening in the gulf, and we must have the courage to fight for answers, to fight for institutional change in the policies that have lead to this disaster, and to work for new solutions. The TEDxOilSpill event I mentioned at the beginning of this post, which is bringing together researchers and leaders to explore new ideas for our energy future, and how we can mitigate the crisis in the Gulf, is a start. There are also currently 126 local Meetups happening in conjunction with the event in 30 countries around the globe. We have to have the courage to do what we can, until we can actually do what we must.

That courage is, literally, what America was founded on, and I hope my generation discovers we too possess a reserve of it.

While everyone else is busy speculating about the potential significance of Microsoft’s new mobile contender, the Kin, I just discovered last night that I am much more interested in the content of their new ads, namely Portland’s March Fourth Marching Band, who’ve been repping it for the Northwest Contingent of the 1-5 Circus Scene since 2003, and who performed at an independent music festival I helped produce back in 07 (pictured above doing just that, and below, adding some cool for Microsoft):

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Interestingly enough, the ad is called “Day in The Life.” And for a certain subculture, this pretty much is. Haven’t written too much about the Circus scene’s influence in the pop landscape since Britney’s last album a couple years ago. By no means surprised to see Oops! It’s doing it again.

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“God is alone — but the devil, he is far from being alone; he sees a great deal of company;
he is legion.”
- Henry David Thoreau, “Solitude,” Walden, 1854

Standing on the field at Coachella 2008, the endless noise and heat like physical things pushing and shoving in a mosh pit, the blast clouds of music spilling out from monolithic stacks of speakers across four hundred acres, the polo field crawling like an ant-farm with a hundred thousand bodies, it suddenly occurred to me that the only historical precedent for this sort of massive concentration of people and resources and infrastructure in one place at one time had to have been… war.

I’d only slept a few hours the previous night, been up since early enough to hear Prince’s sound-check as the score to the start of my workday, and looking through the 100+ degree Palm Sprigs haze that afternoon under the sweltering sky, I imagined ancient Greek or Roman or Macedonian battlegrounds and thought they might not have looked too different.

In college I’d started throwing raves; at the turn of the millennium I was part of the promotions team at New York’s iconic Lunatarium, a 20-thousand square foot warehouse space in DUMBO dubbed “the studio 54 of the moveon.org crowd” by the New York Times; by the mid-aughties I’d been the Online marketing Coordinator for House of Blues Concerts in Southern California, led the social media strategy for Live Nation’s Street Scene Music Festival in San Diego, consulted on web strategy for the Bonnaroo Festival in Tennessee, and at the moment of that heat-stroked revelation on the Empire Polo Field was the Marketing Director for an independent event creations company which, in addition to Coachella, that summer would also work with the Rothbury Music Festival in Michigan, Optimus Alive Festival in Portugal, All Points West Festival in New York, the Virgin Music Festival in Baltimore, Electric Picnic in Ireland, and finish off the season with a stint at Burning Man.

Needless to say, this wild proliferation and growth of massive music festivals over the past decade was something I’d noticed. Yet at the same time that I was in the front row seat at the concert industry, my career also overlapped with the ascension of social technology. At the time, already anachronistic phrases like “new media,” and “electronic marketing” were still being tossed about to describe my inevitable department. Just the year before, at SXSW Interactive 2007, when Myspace was still king of the web and Facebook was just a college dorm and the newly-launched Twitter was yet to be anything but the geeks’ private playground, there were still panels called things like, “Why Marketers Need To Work With ‘People Media’“. Hard to imagine now that just a few years ago the term “Social Media” had barely entered the mainstream marketing lexicon. Witnessing the rise in demand for massive music festival experiences and the mass adoption of digital and social technologies, it occurred to me that these two seemingly disparate forces were not only gaining traction in tandem, they were, in fact, both part of a far lager and more meaningful societal shift.

“Mass Mingling” is what trendwatching.com called it, one of their “10 Crucial Consumer Trends For 2010:”

More people than ever will be living large parts of their lives online in 2010. Yet, those same people will also mingle, meet up, and congregate more often with other ‘warm bodies’ in the offline world. In fact, social media and mobile communications are fueling a MASS MINGLING that defies virtually every cliché about diminished human interaction in our ‘online era’.

So, forget (for now) a future in which the majority of consumers lose themselves in virtual worlds. Ironically the same technology that was once seen to be—and condemned for—turning entire generations into homebound gaming zombies and avatars, is now deployed to get people out of their homes.

Basically, the more people can get their hands on the right info, at home and on the go; the more they date and network and twitter and socialize online, the more likely they are to eventually meet up with friends and followers in the real world. Why? Because people actually enjoy interacting with other warm bodies, and will do so forever.

At SXSW Interactive 2010, convincing marketers that they need social media would have been about as necessary as convincing them they live on a round planet. Attendance for Interactive grew by 40% in the past year alone, and for the first time surpassed that of both the film and music portions of the festival. This year, the hot new thing getting everyone’s panties in a twist was location-based social technologies like Foursquare and G0walla, which add a real-time, real-place dimension to social media. You’re not just keeping up with your friends’ status updates or photo uploads anymore, you’re now actually aware of where they are in relation to you geographically — and perhaps it’s at the bar next door, which you may never have known otherwise, but now that you do, you can all meet up. Much of the appeal of these new location-based social applications is the alleviation — or perhaps the compulsive exacerbation — of FOMO (“fear of missing out”) on ever more potential social opportunities.

But what’s interesting to me in all this isn’t that, social creatures such as we are, we’re using yet more new technology to enable evolutionary imperatives — so, we’re using new gadgets to scratch the itch of 200,000-year-old human desires, and this is a new trend for 2010 why? — but rather that, much like music festivals themselves, our new social experiences seem to be happening at a consistently unprecedented scale. We are no longer content to have social experiences, we want bigger, faster, louder, immediate, MASSIVE social experiences. The kind of resources that thousands of years ago would have been summoned for the purpose of defending an empire, and decades ago for a singular moment in the Summer of Love, are now routinely assembled every weekend of the annual music festival season that is summer.

In his essay in The Chronicle of Higher Education entitled “The End of Solitude,” former Yale professor William Deresiewicz writes:

Technology is taking away our privacy and our concentration, but it is also taking away our ability to be alone. Though I shouldn’t say taking away. We are doing this to ourselves; we are discarding these riches as fast as we can. I was told by one of her older relatives that a teenager I know had sent 3,000 text messages one recent month. That’s 100 a day, or about one every 10 waking minutes, morning, noon, and night, weekdays and weekends, class time, lunch time, homework time, and toothbrushing time. So on average, she’s never alone for more than 10 minutes at once. Which means, she’s never alone.

I once asked my students about the place that solitude has in their lives. One of them admitted that she finds the prospect of being alone so unsettling that she’ll sit with a friend even when she has a paper to write. Another said, why would anyone want to be alone?

There is an analogy, it seems to me, with the previous generation’s experience of boredom. The two emotions, loneliness and boredom, are closely allied. They are also both characteristically modern. The Oxford English Dictionary’s earliest citations of either word, at least in the contemporary sense, date from the 19th century. But the great age of boredom, I believe, came in with television, precisely because television was designed to palliate that feeling. Boredom is not a necessary consequence of having nothing to do, it is only the negative experience of that state. Television, by obviating the need to learn how to make use of one’s lack of occupation, precludes one from ever discovering how to enjoy it. In fact, it renders that condition fearsome, its prospect intolerable. You are terrified of being bored — so you turn on the television.

So it is with the current generation’s experience of being alone. That is precisely the recognition implicit in the idea of solitude, which is to loneliness what idleness is to boredom. Loneliness is not the absence of company, it is grief over that absence. If boredom is the great emotion of the TV generation, loneliness is the great emotion of the Web generation.

Young people today seem to have no desire for solitude, have never heard of it, can’t imagine why it would be worth having. In fact, their use of technology — or to be fair, our use of technology — seems to involve a constant effort to stave off the possibility of solitude. As long ago as 1952, Trilling wrote about “the modern fear of being cut off from the social group even for a moment.” Now we have equipped ourselves with the means to prevent that fear from ever being realized. Which does not mean that we have put it to rest. Quite the contrary. Remember my student, who couldn’t even write a paper by herself. The more we keep aloneness at bay, the less are we able to deal with it and the more terrifying it gets.

Which is why massive festivals have exploded like manic Murakami mushrooms after a radioactive rain. Having produced and marketed music festivals I am keenly aware that it’s not just the lineup that sells the ticket. “The Internet is as powerful a machine for the production of loneliness,” adds Deresiewicz, “as television is for the manufacture of boredom.” The same technology that allows us to be more connected than ever before, on its flip side, perhaps even simply through contrast, has increased our capacity for loneliness. We have built up a new tolerance level, and all we do is want more, more, more. Hence the compulsive need to feel a part of something, something massive, surrounded by hundreds of thousands of other people, all experiencing the same trending topic together as it scrolls by. Of course, it helps that adding music to the cocktail lends a self-transcending aspect to the experience — as does rolling or tripping or being stoned or drunk, which, lets face it, you probably are if you’re at a festival. Taking part in these massive social experiences has become a default rite of passage, an almost religious annual ceremony, and, perhaps, an addiction like any other, demanding we keep upping the dose at every tinge of the creeping withdrawal that is loneliness.

So, as the legions prepare to head to the desert this weekend to score a fix at the kickoff to the annual music festival season (the first of the 2010’s) that is Coachella, and as the rest of us, too, keep tap tap taping our QWERTY keys and touchscreens like pushing the air-bubbles out of a syringe, Deresiewicz reminds us: “We are not merely social beings. We are each also separate, each solitary, each alone in our own room, each miraculously our unique selves and mysteriously enclosed in that selfhood. No real excellence, personal or social, artistic, philosophical, scientific or moral, can arise without solitude. To remember this, to hold oneself apart from society, is to begin to think one’s way beyond it.”