The Future of the Sun

The story of the biggest transformation of our time has a marketing problem: no one knows it’s happening.

There were many important events that happened in 2016. Some were deafening, trumpeting the seemingly inexplicable ascent of backwards-facing forces. But one event of great historical significance went largely unremarked upon.

In 2016 solar power became the cheapest form of new electricity on the planet and for the first time in history installed more new electric capacity than any other energy source.

Amid the sepia haze oozing from the past’s rusting, orange pipeline, humanity was placing a serious bet on a new kind of future. And you didn’t even know about it.

That’s a problem.

 

Powering Disruption

It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you’d be stuck with your whale blubber. Sorry mate — history’s moving along.
Brian Eno

“The beginning of the end for fossil fuels,” according to Bloomberg, occurred in 2013. The world is now adding more capacity for renewable power each year than coal, natural gas, and oil combined. And there’s no going back…. The shift will continue to accelerate, and by 2030 more than four times as much renewable capacity will be added.”

The International Energy Agency’s Executive Director, Fatih Birol, said, “We are witnessing a transformation of global power markets led by renewables.”

“While solar was bound to fall below wind eventually, given its steeper price declines, few predicted it would happen this soon,” notes Bloomberg.

In the United States, as coal production fell an estimated 17% in 2016, continuing an 8 year decrease, the solar market nearly doubled, breaking all records and beating oil, coal, and natural gas as the country’s biggest source of new electric generating capacity. While it’s still just a tiny fraction of the domestic electricity mix, in 2016 40% of all new capacity additions came from solar. 2016 was also the 4th consecutive year that US solar jobs grew by more than 20%, according to the Solar Foundation. One out of every 50 new jobs added in the United States in 2016 was created by the solar industry, which now employs more people than oil, coal, and gas extraction combined.

“Solar investment has gone from nothing — literally nothing — like five years ago to quite a lot,” said Ethan Zindler, head of U.S. policy analysis at BNEF. “A huge part of this story is China, which has been rapidly deploying solar” and, Bloomberg notes, helping other countries finance their own projects.

Between 2008 and 2013, solar panel costs dropped by 80% worldwide thanks to the accelerant of Chinese manufacturing. As Scientific American writes:

China leapfrogged from nursing a tiny, rural-oriented solar program in the 1990s to become the globe’s leader in what may soon be the world’s largest renewable energy source.

According to DOE, the [Chinese] federal government was willing to chip in as much as $47 billion to help build its solar manufacturing into what it calls a “strategic industry.”

In building up the world’s largest solar manufacturing industry, one that became the price leader in most aspects of the world’s market — beginning with cheaper solar panels — China helped create a worldwide glut. [In 2013] there were roughly two panels being made for every one being ordered by an overseas customer.

By 2015, China’s domestic market bypassed Germany’s to be the largest in the world…. [Today] China dominates the solar market in PV installation as well as total installed capacity, with the United States a distant third and fourth, respectively.

“If there was ever a situation where the Chinese have put their whole governmental system behind manufacturing, it’s got to be solar modules,” [Ken] Zweibel [30-year veteran of the U.S. solar industry and DOE] said.

“They fundamentally changed the economics of solar all over the world,” said Amit Ronen, director of the Solar Institute of George Washington University.

The impact of cheap, abundant solar technology has begun to ripple out across a planet where, as Scientific American notes, “the mathematics have long shown that solar power is the most abundant energy resource.”

In 2016 Sweden announced it’s committing to becoming 100% renewable by 2040. India broke a world record with a 6 square mile-wide solar farm, and set its sights on doubling its solar power capacity. In January, Saudi Arabia, the world’s biggest crude oil exporter, announced a plan to invest $163 billion in renewables to support 50% of the country’s energy needs by 2050. Although admittedly their goal is to free up more oil for export in the short term, the country’s fate, The Atlantic reports, “may now depend on its investment in renewable energy.”

Before 2016 came to a close, China announced plans to cancel over 100 coal plants in development and to create 13 million jobs in renewables over the next 4 years. (For context, the US clean energy industry is just over 3 million jobs. The entire US tech industry is 6.7 million jobs.)

“The question is now no longer if the world will transition to cleaner energy,” FastCompany writes, “but how long it will take.”

According to the International Energy Agency, while solar makes up less than 1% of the electricity market today it could be the world’s biggest single source by 2050

Already, The Wall Street Journal reports, energy companies are beginning to confront the “crude reality… that some fossil-fuel resources will remain in the ground indefinitely.”

“A Goldman Sachs report last year forecast solar and wind will generate more new energy capacity in the next five years than the shale-oil revolution did in the last five,” writes David Bank, of ImpactAlpha.

Bloomberg predicts peak fossil-fuel use for electricity may be reached within the next decade. Peak gasoline demand by 2021.

For over 100 years, the oil industry and its stakeholders have believed that the market for their products will continue to grow ad infinitum without competitive challenges,” energy economist, Peter Tertzakian wrote last month. “Never in my 35-year career following energy markets has there been so much widespread disagreement about future demand for oil.”

From the water’s edge of 2017 we can see out onto the horizon. When the future history books are written, 2016 will be the year the tide turned.

Why didn’t we realize it?

 

Powering Denial

“For as I detest the doorways of Death, I detest that man, who hides one thing in the depths of his heart, and speaks forth another.”
— Achilles, The Iliad

“We live in the Stone Age in regard to renewable power,” Florida state Rep. Dwight Dudley, said last year in Rolling Stone’s expose on the war entrenched utilities are waging on solar energy. “The power companies hold sway here, and the consumers are at their mercy.”

Rate hikes and punishing fees for homeowners who turn to solar power [have] darkened green-energy prospects in could-be solar superpowers like Arizona and Nevada. But nowhere has the solar industry been more eclipsed than in Florida, where the utilities’ powers of obstruction are unrivaled… .The solar industry in Florida has been boxed out by investor-owned utilities (IOUs) that reap massive profits from natural gas and coal… .These IOUs wield outsize political power in the state capital of Tallahassee, and flex it to protect their absolute monopoly on electricity sales.

The rise of distributed solar power poses a triple threat to these monopol[ies]. First: When homeowners install their own solar panels it means the utilities build fewer power plants, and investors miss out on a chance to profit. Second: Solar homes buy less electricity from the grid; utilities lose out on recurring profits from power sales. Third: Under “net metering” laws, most utilities have to pay rooftop solar producers for the excess power they feed onto the grid. In short, rooftop solar transforms a utility’s traditional consumers into business rivals.

The utility trade group Edison Electric Institute (EEI) warns that rooftop solar could do to the utility industry what digital photography did to Kodak, bringing potentially “irreparable damages to revenues and growth prospects.”

Few industries are worse equipped to deal with disruption than power utilities. Their profits depend on infrastructure investments that pay off over a generation or more. “Utilities are structured to be in stasis,” says Zach Lyman, partner at Reluminati, an energy consultancy in Washington, D.C. “When you get fully disrupted, you’ve got to find a new model. But utilities are not designed to move to new models; they never were. So they play an obstructionist role.”

Obstruction plays out in the State Houses, but it also plays out in hearts and minds. Here’s what obstruction looks like as a messaging strategy:

 

Bills percolating through state legislatures across the U.S. are giving the education fight a new flavor, by encompassing climate change denial and serving it up as academic freedom.

Newsweek

 

 

 

And so on.

But behind the petroleum-jellied lens of blurry obstructionism “Freedom” is just a marketing gimmick when you’ve got nothing left to lose except your entire whale blubber fortune.

As futurist Alex Steffen explains:

There is no long game in high-carbon industries. Their owners know this. They don’t need a long game, though… . All they need is the perception of the inevitability of future profit, today. That’s what keeps valuations high… .The Carbon Bubble will pop not when high-carbon practices become impossible, but when their profits cease to be seen as reliable.

For high-carbon industries to continue to be attractive investments, they must spin a tale of future growth. As it becomes clear that these assets will not produce profit in the future, their valuations will drop — even if the businesses that own them continue to function for years. The value of oil companies will collapse long before the last barrel of oil is burned.

Put another way: The pop comes when people understand that growth in these industries is over and that, in fact, these industries are now going to contract. That’s when investors start pulling out and looking for safer bets. As investors begin to flee these companies, others realize more devaluation is on the way, so they want to get out before the drop: a trickle of divestment becomes a flood and the price collapses. What triggers the drop is investors ceasing to believe the company has a strong future.

“Gridlock is the greatest friend a global warming skeptic has,” a spokesman for an Oklahoma senator says in Jane Mayer’s Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right. “That’s all you really want. There’s no legislation we’re championing. We’re the negative force. We are just trying to stop stuff.”

The energy generated by the obstruction force of the most powerful industry that has ever existed on the face of the Earth has created such friction it has ground our sense of the future a halt. The lights keep dimming on us and we don’t know why. The gears of culture groan precariously against grinding, backwards momentum. The crude, snake oil slogans peddling past glory are so bleakly recursive they erase the very idea of future. And that is no coincidence. Carbon has a stake in wiping the future out of our imaginations. Because in the Future the world pivots.

 

Powering Destiny

One of these mornings
It won’t be very long
They will look for me
And I’ll be gone.
— Patti LaBelle

This past October, Liu Zhenya, the former chairman of China’s state-owned power company, State Grid Corp., came to the United Nations to present a vision for what a post-carbon Future would look like. He described a global power grid that could transmit 80% renewable energy by 2050, Scientific American reports.

His speech invited U.N. support for a new international group to plan and build the grid. It’s called the Global Energy Interconnection Development and Cooperation Organization (GEIDCO), and China has named Liu its chairman. [This] global grid would transmit solar, wind and hydroelectric-generated power from places on Earth where they are abundant to major population centers, where they are often not.

His grid’s development would take shape in three phases. First, Liu explained, individual nations would redesign their own power electric grids. He noted that China’s effort is already underway, generating 140 GW of wind power and 70 GW of solar power, “more than that of any country of the world.” By completing a network of long-distance, high-voltage direct-current power lines to move renewable power from the north to the south and from the east to the west, China could finish its new grid by 2025, he predicted.

The second phase, Liu described, would be an international effort to build regional grids that would be able to transmit substantially more power across national borders in Northeast and Southeast Asia, between Africa and Eurasia, and between nations in both North and South America. The third phase would build power lines and undersea cables that would connect the regional grids. The upshot would create what he called a “win-win situation.”

There would be plenty of work for “all global players” to coordinate the effort, to share and innovate new technology, and to develop global standards and rules for cooperation, Liu promised. He closed his U.N. presentation with a glimpse of a future world where a combination of renewable energy, a network of high-voltage direct-current transmission lines and “smart grid” operating systems can serve the planet the way the human “blood-vascular system” serves the human body.

When the global grid is completed, “the world will turn into a peaceful and harmonious global village with sufficient energy, green lands and blue sky,” he predicted.

Is it kooky that the Chinese would be talking about World Peace on the eve of 2017? Sure. But the thing is — that could have been us.

In the 1960’s, American architect and systems theorist, Buckminster Fuller created the World Game project. An alternative take on the war game simulations that dominated the Cold War era, the World Game requires participants to solve the following problem: “Make the world work for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological damage or disadvantage to anyone.”

“The global energy grid is the World Game’s highest priority objective,” Fuller wrote.

Half a century after this idea of a distributed energy Future first emerged out of the American counterculture, a representative from the world’s second largest economy just presented it at the United Nations as the vision for his country’s energy ambitions.

“We argue so much about the silly politics of climate change and fail to recognize the gargantuan economic opportunity that this presents,” says Gregory Wilson, co-director of DOE’s National Center for Photovoltaics. “The energy system is going to get re-engineered, and someone is going to do it. The Chinese seem to have recognized the significance of this opportunity.”

Last year China invested a record $32 billion in overseas renewable energy projects. A 60% increase from the year before. Over the next 4 years the Chinese plan to to invest $360 billion in renewables domestically to boost capacity by 500%. The rapidly accelerating innovation that this kind of financing unleashes creates global market forces that may have their own momentum. From radically reimagined (and profoundly cheaper) battery technologies to printable solar panels that could transform “nearly any surface into a power generator” to electric busses that can go 350 miles on a single charge, new pieces of this vast puzzle seem to be emerging almost daily.

“Eventually,” Vox’s David Roberts writes, “power generation and storage will become ambient, something that simply happens, throughout the urban infrastructure. With that will come more and more sophisticated software for managing, sharing, and economizing all that power. [This] will one day change the world as much as the internet has.”

Indeed, as TechCrunch writes: Energy is the new Internet.

An undeniable, distributed energy Future powered by solar and other renewable sources is emerging. Perhaps the only Future on offer in the 21st century thus far that presents a bright vision worth striving for.

And yet — from a consumer perspective, solar energy seems to have no idea what it’s really selling.

 

Powering Desire

“If you don’t like what is being said, then change the conversation.”
— Don Draper

“In 2008, when fracking was still just a tiny thing, Davos was crowning it as the start of a new world order,” clean energy entrepreneur, Jigar Shah said recently on the Energy Gang Podcast. Yet solar is still considered “just a tech thing,” he lamented. “We’re not Earth shattering.”

Where does the momentum for a movement come from, Shah wondered? Why is solar perceived as just some sort of… appliance? Why, despite breaking records and reshaping trend-lines the world over in 2016, isn’t solar getting the kind of buzz befitting one of the biggest stories of our time?

Because messaging.

Here is how SolarCity, the largest residential solar installer, positions its product:

“Our solar panels not only generate energy on your roof, they can also generate cash in your pocket. That’s because when you go solar you can save on your monthly utility bill and secure lower fixed energy rates for years to come. The savings over time add up and allow you to plan for your future. See how quality, savings and affordability make going solar the right choice.”

Solar is the Future but you’d never know it from the way it’s marketed. And this commoditized framing is reflective of the industry as a whole. The retail model for solar hasn’t changed from what it was a decade ago. But the world has. The internet is on our doorstep but solar is still selling people on the value prop of word processors.

Compounding the messaging problem, solar is still positioned as an “alternative.” Droga5’s campaign for NRG Home Solar still presents renewable energy as an option relative fossil fuels. (Perhaps inevitable given the nature of NRG’s legacy-fuel masters.)

Both of these misguided approaches are a drag on the industry’s true potential. Solar isn’t a gadget, or an alternative lifestyle — it is an entry point to the new Future. In 2017, the territory of a desirable Future is totally unclaimed white space in consumer consciousness and the solar industry is uniquely positioned to own it.

Here’s how:

 

– Industry-level Messaging Platform –

In the 1990’s the Got Milk? campaign gave a commoditized product the status of a cultural icon. Executed at a trade level by the American dairy farmers, the industry-wide platform created a bigger impact than could have been possible for any dairy producer individually.

Like milk, energy is not a sphere with recognizable consumer brands that are part of the larger cultural conversation. The one notable exception, of course, is Tesla, which dropped the “Motors” from its name when it acquired SolarCity at the end of 2016. Analysts insisted that this acquisition is an “unneeded distraction,” and that Tesla ought to be “singularly focused on becoming a mass automobile manufacturer,” but that is a shortsighted view for a company that now makes solar panels and energy storage products. When it comes to Tesla’s true ambitions, as CEO, Elon Musk puts it, “We need a revolt against the fossil fuel industry.”

Everything Tesla does unequivocally insists, desirable Future, but there is enough shine for the entire industry to own. At the end of the day, it’s solar itself that consumers have an affinity for — 

Even among the majority of all political affiliations, no less—

It doesn’t take a moonshot PR campaign to capitalize on this abundance of positive consumer sentiment. Just a cohesive voice with which to claim the message and consistently speak it into the culture.

 

– Expand the Target Audience –

Everyone in solar is targeting the same homeowner and business audience. A vastly unexplored area is strategic ways to engage literally everyone else.

In 2008 I wrote about Toyota’s integration with Whyville, an online virtual world for tweens:

Pretty much the coolest thing you can buy in Whyville is a Scion, and its added bonus is that then you can drive all your other friends around in it in the game. The most fascinating thing about this whole strategy, however, is that the Tween demographic is between 8–12 years old. It’s gonna be a while before they even have a driver’s license, let alone be in a position to be buying a car in the real world, but when they are, they will already have a virtual experience to draw on when making the purchase decision.

As the Massachusetts Clean Energy Center shows with its Clean Energy Activity Day program for elementary and middle school students, this approach doesn’t need to just be virtual.

From group purchasing at a community level to modular options for renters to innovative uses for incentive programs and student grants, and more, what are the actionable and scalable strategies for expanding the target audience and the bottom line across the solar industry?

 

– Sell the Experience –

Most people don’t really want to think about energy. We flip a switch and the electricity is just there. We interact with electricity literally all day, and never think about it. The narrative of distributed, storable, smart-gridded, clean energy is so profoundly different from what most people know, or know how to think about, for them to understand it — or even want to — requires a transformative shift in the way it is communicated.

When Apple first marketed the iPod, it didn’t sell the product, they sold its end result — the experience of music:

Later campaigns for the iPhone didn’t even show the product at all:

The product became the conduit to the experience. And the experience that solar has to sell is Future.

 

– Claim the Narrative of Future –

Two decades ago — back when it was still possible to talk about the future as anything but dystopia — a series of ads painted a striking vision of how that future was going to unfold. “Have you ever borrowed a book from thousands of miles away,” asked the ad voice. “Crossed the country without stopping to ask for directions? Or watched the movie you wanted to, the minute you wanted to?”

“You will,” said the voice, “and the company that will bring it to you: AT&T.”

Today I use a device to do basically 90% of what those ads predicted. (OK, I’ve never sent a fax from the beach, or tucked a baby in from a phone-booth, but you can’t get the Future 100% right). All of these things are so obvious and mundane now we barely even remember — some of us never knew — there was a time before. But, indeed, there was a point when this fantastical world was the future, and the future still seemed like a fantastical world.

There are no grand visions for the future now, no scenarios for humanity that don’t fill us with dread. A dying oligarchy tells us dissolution is freedom; regression is hope. It has disfigured our understanding of what’s happening in our world. The result is a gaping void in our collective vision when we look ahead. 17 years in to our new century there is a desperate hunger for a bright vision for the future, and at the moment arguably no one outside the world of clean energy has a legitimate claim to one. In the end, it’s not about utility bills or net metering laws or even solar panels for that matter. It’s about a vision of a Future worth demanding. Solar has the opportunity to be the voice of that vision for decades to come with a simple, cohesive, culture-focused messaging strategy.

    



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Music & Mirrorgrams: Lessons Learned From Working in Apps

musicandmirrorgramsMirrorgram by: bobdoran

 

This weekend I was invited to a salon-style dinner organized by Tim Chang and Les Borsai, hosted at the home of Steve Rennie. The event turned out to be a fascinating gathering at the intersection of digital media, technology, and music.

I have an art app called Mirrorgram. We launched it last October, and just this past month we crossed a million users! But I ended up in apps kind of by accident. I come, as did nearly everyone at the dinner, from music. For a long time, I used to produce music festivals. I’ve worked with Live Nation and House of Blues, and for years I was the marketing director for the Do Lab on the Lightning in a Bottle Festival. That’s actually how I met my Mirrorgram co-founder, Justin Boreta, who’s part of a band called the Glitch Mob. In fact, he came up with the concept for Mirrorgram while on tour, during the hours spent bored on the bus between shows, nerding out with iPhone photo apps. And it was built by the team at StageBloc, whose platform is designed to specifically support the unique  content and community needs of musicians and performers. So when Tim asked me to come to the salon with a few minutes worth of lessons learned from working in apps, the first thing that came to mind for me was how much we draw on what we’ve internalized from our experiences in the music world to shape the way we approach what we do in the app world:

1. Fans vs. Users.
Before we ever started thinking about “users” our reference point was always “fans.” Of course, now we’re incredibly concerned with usability, and how people actually engage with our product, but beyond the app itself, we have a deep understanding and respect  for the importance of nurturing the kinds extended social narratives and interactions that get created around it. Like what happens with a band people love, or an annual music festival that they revisit every year. We’ve seen so many Mirrorgrammers create connections and forge friendships and even artistic collaborations with one another through this shared love that they have for the app, and the art they create with it. And we’ve always understood that drive through the lens of fandom.

2. Choose your own adventure.
Coming from a world of creating real-life experiences we have a natural inclination to approach what we’re doing in the digital space with that same sensibility. It’s about creating a platform with a certain amount of structure — a concert set list, a festival lineup, an app feature-set — but then also leaving a ton of room open people to create their own experiences within that structure. When we look at the kind of art that people create with Mirrorgram, it consistently blows us away. Half the time we don’t even know HOW people are creating the images they are with it. We’re just watching the feed, mesmerized. It’s pretty unbelievable. Coming from music, that experience of creating something and putting it out into the world and then seeing people take it into directions you could have never imagined or expected is very familiar.

3. More than the sum of its parts.
There’s something really interesting in approaching the evolution of an app, or any product, the way a band thinks about the new music it releases, or the way a music festival builds on what came before, year after year. A band doesn’t think about its next album like an “update.” It’s about a journey that we want to take our fans or our attendees or our users on with us. The day we went live with Mirrorgram, we referred to it (kinda jokingly, but kinda not) like the start of “The Symmetry Revolution.”

We still reference it in a tongue in cheek kind of way, but people in the iPhoneography world have really gravitated to that idea of it being about something bigger, of the app as an entry-point into a larger creative movement or community. To us, Mirrorgram has always been much more than just the sum of its features — it’s part of an ongoing, shared, cultural and aesthetic experience we’re creating and evolving together with the people who use it.

It’s still fairly early days for Mirrorgram, but hopefully you might want to come on that trip with us.

And thanks again to Tim, Les, and Steve, for hosting such a wonderful evening!

 

    



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This Is What’s Happening: 2012 Edition

http://sphotos-a.xx.fbcdn.net/hphotos-ash4/486369_499547283411106_387413796_n.jpg

Remember back when I used to be a social media strategist?

I started before that term was even being used, and as late as this October the L.A. Times still hadn’t gotten the memo that I had move on, calling me a “social media expert” for my crimes (among them: 1, 2, 3).

So you’d be forgiven if you hadn’t realized that I’d become a product strategist. (Social media, it’s not you, it’s me. Well, it’s kind of you. But mostly, it’s  me. Anyway, at this point everything is social, so let’s call it even.)

While 2012 has been the quietest year on Social-Creature since I started the site, elsewhere it’s been quite prolific. So as the year comes to a close, I thought I’d take a break to share some of what’s been going on.

MIRRORGRAM:

This Fall I led the launch strategy for a new iOS photo app, called Mirrorgram. In its first week, the app, created by Justin Boreta, of the Glitch Mob, and StageBloc, had over 165,000 users (!!!), gotten selected as the top “New & Noteworthy” app on the App Store:

reached #1 paid app in the photo and video category:

and #11 paid app overall:

Less than 2 months in, Mirrorgram now has over 300,000 users, there are nearly 45,000 images in the #mirrorgram feed on Instagram, and mirroring has become a cultural aesthetic trend:

You’re welcome / We’re sorry.

Anyway, watching  hundreds of thousands of people use the product has offered visibility into some really fascinating behavioral insights around iPhone creativity, the mechanics of digital art creation, and the white space on the photo sharing landscape. More about what we’ve learned, and how these insights are informing further product strategy, including a truly exciting new direction in the app’s evolution — hint: what’s Instagram NOT for? (porn, aside) — in the new year, so stay tuned!

GATHER:

Gather began as a hip, little boutique, beloved by Racked LA and LA Weekly for carrying all local L.A. designers. Now this idea has evolved into what I, and my partner, Katie Kay Mead, see as the future of hyper-local design discovery and retail.

While shopping has moved online, the discovery of locally-created design is still trapped by brick-and-mortar, and coincidence. The new Gather site, relaunched this Fall, is designed address this gap, allowing visitors to easily discover cutting-edge design just around the corner. As the L.A. Times put it in their recent Sunday feature on Gather:

More to come on the arising cultural behaviors and beliefs that have laid the foundation for Gather’s new direction — including why flash sale leaders are desperate to reposition themselves as purveyors of special (rather than discounted) things, and the emerging local trend, bolstered by campaigns like AmEx’s “Small Business Saturday” and Millennials’ proclivities.

In the meantime:

And there’s other bright news as well, but I’ll tell you when I see you in 2013!

    



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Discussing “Tribalism in the modern age” on WBEZ Chicago

This morning I was on WBEZ Chicago, talking on Eight Forty-Eight about the ways our ancient, social instincts play out in contemporary culture. Thanks to host, Tony Sarabia, and fellow guest, Rabbi Adam Chalom, for a great discussion!

(My part starts at 12:20)

[audio:http://social-creature.com/wp-content/uploads/2012/04/120418-seg-b_1.mp3|titles=“Tribalism in the modern age” on WBEZ Chicago|width=60%]

 

    



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Why You’re Wearing Feathers Right Now


Jocelyn Marsh wearing headdress by Tiffa Novoa. Image: Brion Topolski, 2005

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:

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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.

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

    



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