An App For Love

By maximizing efficiency, technology has transformed dating into a routine for the acquisition of sex. Love has been, literally, written out of the code for a generation afraid to catch feelings.

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Death.

The future, as per usual, arrived first in Japan.

Last year fewer babies were born in Japan than any year on record. Roughly 1.001 million babies were born, and 1.269 million people died, leaving the country with 268,000 fewer people. In U.S. terms, that’s like if everyone in Newark up and disappeared last year. 2014 was just the latest record-breaking drop in a sharp, downward trajectory that began pretty much exactly 40 years ago.

For decades, the Japanese Government kept misinterpreting this negative population growth as a temporary dip rather than an sustained trend. The Washington Post created a graph based on the data from a 2014 working paper from Tokyo’s Waseda University, showing the government projections compared against reality —

Japan

 

 — an eerie EKG of a dying body being repeatedly defibrillated with mounting futility and desperation.

In 2013, the year adult incontinence diapers outsold baby diapers in Japan for the first time, Japan’s National Institute of Population and Social Security Research released a projection that, based on current trends, by 2060 30% of Japanese people will be gone.

Birth rates are declining across the developed world, but exactly what kind of Children of Men style apocalypse is going on in Japan?

“Japan’s under-40s appear to be losing interest in conventional relationships,” Abigail Haworth wrote in The Guardian. “Millions aren’t even dating, and increasing numbers can’t be bothered with sex. For their government, “celibacy syndrome” [sekkusu shinai shokogun] is part of a looming national catastrophe:

A survey in 2011 found that 61% of unmarried men and 49% of women aged 18–34 were not in any kind of romantic relationship, a rise of almost 10% from five years earlier. Another study found that a third of people under 30 had never dated at all. A survey earlier this year by the Japan Family Planning Association (JFPA) found that 45% of women aged 16–24 “were not interested in or despised sexual contact.” More than a quarter of men felt the same way. Japan’s Institute of Population and Social Security reports an astonishing 90% of young women believe that staying single is “preferable to what they imagine marriage to be like.”

“Both men and women say to me they don’t see the point of love,” says Ai Aoyama [a sex and relationship counsellor, and former professional dominatrix]. “They don’t believe it can lead anywhere.”

“Mendokusai.”

Mendokusai translates loosely as “Too troublesome” or “I can’t be bothered.” It’s the word I hear both sexes use most often when they talk about their relationship phobia. Romantic commitment seems to represent burden and drudgery. “I find some of my female friends attractive,” says Satoru Kishino, 31 “But I’ve learned to live without sex. Emotional entanglements are too complicated. I can’t be bothered.”

Eri Asada, 22, who studied economics, has no interest in love. “I gave up dating three years ago. I don’t miss boyfriends or sex. I don’t even like holding hands.”

“Gradually but relentlessly, Japan is evolving into a type of society whose contours and workings have only been contemplated in science fiction,” Demographer Nicholas Eberstadt wrote last year.

[But] aversion to marriage and intimacy in modern life is not unique to Japan. Many of the shifts there are occurring in other advanced nations, too. Is Japan providing a glimpse of all our futures?

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Sex.

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“It’s a balmy night in Manhattan’s financial district,” writes Nancy Jo Sales in Vanity Fair, “And at a sports bar called Stout, everyone is Tindering. The tables are filled with young women and men who’ve been chasing money and deals on Wall Street all day, and now they’re out looking for hookups. Everyone is drinking, peering into their screens and swiping on the faces of strangers they may have sex with later that evening.”

Sales captures an essential ethnography of a world — told mostly through the words of its inhabitants themselves — where “an unprecedented phenomenon is taking place, in the realm of sex” as hookup culture collides with dating apps:

At a booth in the back, three handsome twentysomething guys in button-downs are having beers. They are Dan, Alex, and Marty, budding investment bankers at the same financial firm, which recruited Alex and Marty straight from an Ivy League campus. When asked if they’ve been arranging dates on the apps they’ve been swiping at, all say not one date, but two or three: “You can’t be stuck in one lane … There’s always something better.” “If you had a reservation somewhere and then a table at Per Se opened up, you’d want to go there,” Alex offers.

“Guys view everything as a competition. Who’s slept with the best, hottest girls?” With these dating apps, he says, “you’re always sort of prowling. You could talk to two or three girls at a bar and pick the best one, or you can swipe a couple hundred people a day — the sample size is so much larger. It’s setting up two or three Tinder dates a week and, chances are, sleeping with all of them, so you could rack up 100 girls you’ve slept with in a year.”

He says that he himself has slept with five different women he met on Tinder in the last eight days. Dan and Marty, also Alex’s roommates, can vouch for that. In fact, they can remember whom Alex has slept with in the past week more readily than he can.“Brittany, Morgan, Amber,” Marty says, counting on his fingers. “Oh, and the Russian — Ukrainian?”

“Ukrainian,” Alex confirms.

“I hooked up with three girls, thanks to the Internet, off of Tinder, in the course of four nights, and I spent a total of $80 on all three girls,” Nick relays proudly. He goes on to describe each date, one of which he says began with the young woman asking him on Tinder to “‘come over and smoke [weed] and watch a movie.’ I know what that means,” he says, grinning.

In his iPhone, has a list of more than 40 girls he has “had relations with, rated by [one to five] stars…. It empowers them,” he jokes. “It’s a mix of how good they are in bed and how attractive they are.”

They laugh.

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Of the themes that emerge from Sales’ piece, one is efficiency:

At a table in the front, six young women have met up for an after-work drink. They’re seniors from Boston College, all in New York for summer internships. None of them are in relationships, they say.

“New York guys, from our experience, they’re not really looking for girlfriends,” says the blonde named Reese. “They’re just looking for hit-it-and-quit-it on Tinder. They start out with ‘Send me nudes.’ Or they say something like ‘I’m looking for something quick within the next 10 or 20 minutes — are you available?’ ‘O.K., you’re a mile away, tell me your location.’ It’s straight efficiency.”

“I’m on Tinder, Happn, Hinge, OkCupid,” Nick says. “It’s just a numbers game. Before, I could go out to a bar and talk to one girl, but now I can sit home on Tinder and talk to 15 girls — ”

“Without spending any money,” John chimes in.

“I’ve gotten numbers on Tinder just by sending emojis,” says John. “Without actually having a conversation — having a conversation via emojis.”

He holds up his phone, with its cracked screen, to show a Tinder conversation between him and a young woman who provided her number after he offered a series of emojis, including the ones for pizza and beer.“

“Now is that the kind of woman I potentially want to marry?” he asks, smiling. “Probably not.”

Neither Nick nor John has had a girlfriend in the last few years; Brian had one until recently but confesses, “I cheated…. She found out by looking at my phone — rookie mistake, not deleting everything.”

They all say they don’t want to be in relationships. “I don’t want one,” says Nick. “I don’t want to have to deal with all that — stuff.”

“You can’t be selfish in a relationship,” Brian says. “It feels good just to do what I want.”

I ask them if it ever feels like they lack a deeper connection with someone.

There’s a small silence. After a moment, John says, “I think at some points it does.”

“But that’s assuming that that’s something that I want, which I don’t,” Nick says, a trifle annoyed. “Does that mean that my life is lacking something? I’m perfectly happy. I have a good time. I go to work — I’m busy. And when I’m not, I go out with my friends.”

“Or you meet someone on Tinder,” offers John.

“Exactly,” Nick says. “Tinder is fast and easy, boom-boom-boom, swipe.”

 

Another theme is intimacy:

Asked what these women are like, he shrugs. “I could offer a résumé, but that’s about it … Works at J. Crew; senior at Parsons; junior at Pace; works in finance …”

“We don’t know what the girls are like,” Marty says.

“And they don’t know us,” says Alex.

Marty, who prefers Hinge to Tinder (“Hinge is my thing”), says he’s slept with 30 to 40 women in the last year: “I sort of play that I could be a boyfriend kind of guy,” in order to win them over, “but then they start wanting me to care more … and I just don’t.”

“Dude, that’s not cool,” Alex chides. “I always make a point of disclosing I’m not looking for anything serious. I just wanna hang out, be friends, see what happens … If I were ever in a court of law I could point to the transcript.” But something about the whole scenario seems to bother him. “I think to an extent it is, like, sinister,” he says.

“When it’s so easy, when it’s so available to you,” Brian says intensely, “and you can meet somebody and fuck them in 20 minutes, it’s very hard to contain yourself.”

“It’s rare for a woman of our generation to meet a man who treats her like a priority instead of an option,” wrote Erica Gordon on the Gen Y Web site Elite Daily, in 2014.

“I had sex with a guy and he ignored me as I got dressed and I saw he was back on Tinder.”

It is the very abundance of options provided by online dating which may be making men less inclined to treat any particular woman as a “priority,” according to David Buss, a professor of psychology at the University of Texas at Austin who specializes in the evolution of human sexuality. “Apps like Tinder and OkCupid give people the impression that there are thousands or millions of potential mates out there,” Buss says. “One dimension of this is the impact it has on men’s psychology. When there is a surplus of women, or a perceived surplus of women, the whole mating system tends to shift. Men don’t have to commit, so they pursue a short-term mating strategy. Men are making that shift, and women are forced to go along with it in order to mate at all.”

Bring all of this up to young men, however, and they scoff. Women are just as responsible for “the shit show that dating has become,” according to one. “Romance is completely dead, and it’s the girls’ fault,” says Alex, 25, a New Yorker who works in the film industry.

“They act like all they want is to have sex with you and then they yell at you for not wanting to have a relationship. How are you gonna feel romantic about a girl like that? Oh, and by the way? I met you on Tinder.”

“Women do exactly the same things guys do,” said Matt, 26, who works in a New York art gallery. “I’ve had girls sleep with me off OkCupid and then just ghost me” — that is, disappear, in a digital sense, not returning texts. “They play the game the exact same way. They have a bunch of people going at the same time — they’re fielding their options. They’re always looking for somebody better, who has a better job or more money.” A few young women admitted to me that they use dating apps as a way to get free meals. “I call it Tinder food stamps,” one said.

 

And pleasure?

“What’s a real orgasm like,” says Courtney with a sigh. “I wouldn’t know. A lot of guys are lacking in that department.”

They all laugh knowingly.

“I know how to give one to myself,” says Courtney.

“Yeah, but men don’t know what to do,” says Jessica, texting.

“Without [a vibrator] I can’t have one,” Courtney says. “It’s never happened” with a guy. “It’s a huge problem.”

“It is a problem,” Jessica concurs.

According to multiple studies, women are more likely to have orgasms in the context of relationships than in uncommitted encounters. More than twice as likely, according to a study done by researchers at the Kinsey Institute and Binghamton University.

They talk about how it’s not uncommon for their hookups to lose their erections. It’s a curious medical phenomenon, the increased erectile dysfunction in young males, which has been attributed to everything from chemicals in processed foods to the lack of intimacy in hookup sex.

“I think men have a skewed view of the reality of sex through porn,” Jessica says, looking up from her phone. “Because sometimes I think porn sex is not always great — like pounding someone.” She makes a pounding motion with her hand, looking indignant.

“Yeah, it looks like it hurts,” Danielle says.

“Like porn sex,” says Jessica, “those women — that’s not, like, enjoyable, like having their hair pulled or being choked or slammed. I mean, whatever you’re into, but men just think” — bro voice — “ ‘I’m gonna fuck her,’ and sometimes that’s not great.”

“Yeah,” Danielle agrees. “Like last night I was having sex with this guy, and I’m a very submissive person — like, not aggressive at all — and this boy that came over last night, he was hurting me.”

They were quiet a moment.

 

Tech.

“There have been two major transitions” in heterosexual mating “in the last four million years,” says Justin Garcia, a research scientist at Indiana University’s Kinsey Institute for Research in Sex, Gender, and Reproduction, quoted in Sales’ article. “The first was around 10,000 to 15,000 years ago, in the agricultural revolution, when we became less migratory and more settled,” leading to the establishment of marriage as a cultural contract. “And the second major transition is with the rise of the Internet. It’s changing so much about the way we act both romantically and sexually.”

In February, 2015, Sales writes, “one study reported there were nearly 100 million people — perhaps 50 million on Tinder alone — using their phones as a sort of all-day, every-day, handheld singles club, where they might find a sex partner as easily as they’d find a cheap flight to Florida.”

“It is unprecedented from an evolutionary standpoint,” Garcia says. We are in “uncharted territory.”

But out here on the drought-ravaged, California desert frontier that’s spawned the iPhone and Tinder (not to mention Snapchat, Twitter, Instagram, Google, Facebook, etc., etc.), the humans creating the technology are drawing the maps.

In the Berkeley Journal of Sociology article, Morality and the Idea of Progress in Silicon Valley, Eric Gianella writes, “We’d like to be able to claim that making things more [efficient] is good. This justifies the countless products and services whose origins can be traced to someone noticing an opportunity for optimization. But there are many cases in which we need to question whether making activities more [efficient] is moral.”

And when it comes to romance, is efficiency even what we want?

I mean, if we do, we’re in luck. The Japanese have already figured out how to take that impulse to its ultimate conclusion. (Of course).

“In Japan today there’s a whole industry of relationship replacement services,” Ryan Duffy explained, in Vice’s 2013 travelogue through Japan’s Love Industry, “You can essentially replicate anything you’d get from a relationship, be it sexual, emotional, or otherwise, without actually having to have a boyfriend or girlfriend.” From the now globally famous Japanese host bars, where professionals simulate the companionship experience of a date (strictly conversation, not copulation) as-a-service — “Women are willing to affix a price for the experience,” a host who makes $800,000 a year casually explains, “It’s totally normal,” — to platonic “cuddle cafes,” where customers can order off a menu of services that includes getting to pet the cuddle hostess’s head, and gazing deeply into each others’ eyes for $80.

“Do you have a boyfriend?” Duffy asks Sakura Serizawa, his cuddle hostess, as he lies next to her, resting his head on her arm.

“Of course not,” she says, “Mendokusai. When I see happy couples during Christmas, I wish they would die. I don’t like seeing people being affectionate in public.”

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“That’s interesting,” Duffy says, quietly horrified, “For someone who is affectionate with strangers for a living.”

“I have no emotional attachment to my customers,” Serizawa explains tonelessly, her artificially enlarged, anime-lensed eyes far away and hollow — like guacamole at Chipotle, eye contact with a human being in the land of efficiency costs extra.

“Nothing is weirder than this,” Duffy murmurs. “Profoundly, profoundly disturbing. We should stop this because it’s freaking me out.”

In voice-over Duffy later added, “I’ve seen a lot of perverse things in my life, but this pseudo-romance actually really got to me,” before culminating the Vice travel guide to Japan’s Love Industry at a Tokyo Hilton where a prostitute defecates in a bathtub and eats her own shit as a sexual service.

What the Japanese have realized is that why stop at sex? Every aspect of human contact can be commodified. Interaction without connection. What could be more efficient?

For Americans, that kind of streamlined optimization looks like this:

“Sex has become so easy,” says John, 26, a marketing executive quoted in Sales’ article. “I can go on my phone right now and no doubt I can find someone I can have sex with this evening, probably before midnight.”

“It’s like ordering Seamless,” says Dan, the investment banker, referring to the online food-delivery service. “But you’re ordering a person.”

But there’s a sense of absence in this paradise of frictionless efficiency. Some essential element’s gone missing in an invisible drought.

“When asked if there was anything about dating apps the young men I talked to didn’t like,” Sales writes, “’Too easy,’ ‘Too easy,’ ‘Too easy,’ I heard again and again.”

By reducing people to one-time-use bodies and sex to an on-demand exchange, dating apps have made what they yield us disposable and cheap. (Even Tinder is uneasy about its role in society being an orifice delivery service, disavowing it contributes to the very hookup culture its technology has not only branded but mainstreamed.)

“I call it the Dating Apocalypse,” a 29 year old New York woman tells Sales.

Or, in the vernacular of Silicon Valley: We have succeeded in disrupting love.

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Enterprise Bridge, Lake Oroville, California

 

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Love.

If there’s one place where love is not dead, it’s the lab.

Anthropologist, Helen Fisher, and neuroscientist, Lucy Brown have been putting people who are madly in love into functional MRI brain scanners to find out what is going on up there, and they can tell you exactly where love lives in the brain:

This is your brain on love
This is your brain on love.

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[In] our study we found activity in a tiny, little factory near the base of the brain called the ventral tegmental area. We found activity in some cells called the A10 cells, cells that actually make dopamine, a natural stimulant, and spray it to many brain regions. Indeed, this part, the VTA, is part of the brain’s reward system. It’s way below your cognitive thinking process. It’s part of what we call the reptilian core of the brain, associated with wanting, with motivation, with focus and with craving. In fact, the same brain region where we found activity becomes active also when you feel the rush of cocaine.

There’s a very specific group of things that happen when you fall in love, and indeed, it has all of the characteristics of addiction. The first thing that happens is a person begins to take on what I call, “special meaning.” You focus on the person, you obsessively think about them, you crave them, you distort reality, your willingness to take enormous risks to win this person. It’s an obsession. As a truck driver once said to me, “The world had a new center, and that center was Mary Anne.”

In another lab, at Stony Brook University, the psychologist Arthur Aron and his colleagues succeeded in making two strangers fall in love as part of an experiment. The researchers wanted to know if they could create conditions that would make strangers quickly bond and form close friendships, even romantic relationships. They paired up random participants, seated them face to face, and gave them a sequence of 36 increasingly personal questions to ask one another and answer openly over an hour, including:

  • Given the choice of anyone in the world, whom would you want as a dinner guest?
  • What is the greatest accomplishment of your life?
  • What do you value most in a friendship?
  • Would you be willing to have horrible nightmares for a year if you would be rewarded with extraordinary wealth?
  • While on a trip to another city, your spouse (or lover) meets and spends a night w/ an exciting stranger. Given they will never meet again, and you will not otherwise learn of the incident, would you want your partner to tell you about it?
  • What foreign country would you most like to visit? What attracts you to this place?

Even before the hour was up, participants typically identified strong feelings of closeness with their partner, often exchanging contact information and indicating a wish to meet up again. “In the original [1997] experiment we also tested an intense version of this with cross-sex couples,” Aron said in Wired in 2011. “And the first ones we tested fell in love and got married. And as of last year, when I last had contact with them, they were still together.”

The control group participants were paired up to engage in small-talk, never, obviously, to be heard from again.

“The effect is based on gradually escalating reciprocal self-disclosure,” Aron and his colleagues explained in their paper, The Experimental Generation of Interpersonal Closeness: A Procedure and Some Preliminary Findings. “So are we producing real closeness? Yes and no. We think that the closeness produced in these studies is experienced as similar in many important ways to felt closeness in naturally occurring relationships that develop over time. On the other hand, it seems unlikely that the procedure produces loyalty, dependence, commitment, or other relationship aspects that might take longer to develop.”

This maps to the distinct brain systems Fisher and her team have identified for mating and reproduction:

  1. The sex drive, which, as Fisher says, “evolved to get us out there looking for a whole range of partners. You can feel it when you’re just driving along in your car. It can be focused on nobody.”
  2. Romantic love, “that elation and obsession which evolved to enable us to focus our mating energy on just one individual at a time, thereby conserving mating time and energy.”
  3. Attachment, “that sense of calm and security you can feel for a long-term partner, evolved to enable you to tolerate this human being at least long enough to raise a child together as a team.”

Right now our “dating” technology is built for the very particular, accumulative drive of #1. Not surprising, perhaps, considering who is (stereo)typically doing the building, but this experience design choice has created a template for imitation.

Co-founder, Whitney Wolfe, left Tinder (under circumstances, outlined in a sexual harassment lawsuit, that read, in excruciating screencaps of text exchanges, like a self-fulfilling indictment of the kind of pathological culture the product encourages) and created…. Tinder. Actually, it’s called Bumble. The Sadie Hawkins of dating apps, on Bumble it’s only women who are able to initiate a conversation once both parties have opted in to a match. Which is pretty much a branding gimmick turned into a product feature. The main differentiator becomes the type of person who would self select to use an app brand that flaunts female agency. But beneath that surface distinction the basic product experience isn’t really a departure from the app its founder left.

“[We know] from our work that if you go and do something very novel with somebody,” Fisher says, “You can drive up the dopamine in the brain, and perhaps trigger this brain system for romantic love. Mystery is [also] important. You fall in love with somebody who’s somewhat mysterious, in part because mystery elevates dopamine in the brain, [which] probably pushes you over that threshold to fall in love.”

Love, as it turns out, can’t be automated. (Who knew?) It doesn’t result from meeting or sleeping with more people. In fact, just the opposite. Love is triggered in a moment when we are able to experience something special in one individual, as everyone else fades away. As Proust said, “It is our imagination that is responsible for love, not the other person.”

Love loves rarity, not surplus, and it might actually hate efficiency, hearting, as it does, the out of the ordinary and unexpected and novel and non-routine. But from swipe to sex, the relentless, grinding repetitiveness inherent in every aspect of the “swipe app” experience, sabotages the very mechanics that trigger the brain system for romantic love.

In 2013, I wrote that “our technology is turning all of us into objects.

The Tonight Show with Jay Leno - Season 21

The ubiquitousness of cameras and social platforms on which to share their output has made us all re-conceive ourselves and one another as media products. We are all selfies. We are all profiles. We are all hashtags. And we can’t stop. Now we swipe through thousands of instant people. We learn nothing of them and share nothing of ourselves to be known. We strip ourselves down to anatomy and stare at each other with hollow, cuddle-host eyes, and we become invisible. Independent contractors in the sharing economy of sex.

There’s obviously all kinds of reasons for why we fall in love with one person rather than another, but if the conditions for generating interpersonal closeness can be recreated in, of all places, a lab experiment, and if the neural mechanisms for how romantic love works can be understood, then perhaps the technological desert we currently find ourselves on is not only, as Sales says a “cultural problem,” it’s an innovation problem.

Love knows what it likes, and we could be building tech engineered for it — creating a match between the research and the product experience, as it were. But we aren’t.

In a time when it’s legal to marry whomever you love, love itself has become an alternative lifestyle.

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Fear.

“Anxiety is love’s greatest killer,” said Anaïs Nin.

In a 2014 survey by the American College Health Association, 54% of college students surveyed said that they had “felt overwhelming anxiety” in the past 12 months. An increase of 5% from the same survey five years earlier. Nearly all of the campus mental-health directors surveyed in 2013 by the American College Counseling Association reported that the number of students with severe psychological problems had escalated at their schools.

In tandem, as Greg Lukianoff and Jonathan Haidt write in The Atlantic, “A movement has been arising at America’s colleges and universities, driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense,” (emphasis added).

Unlike the political correctness movement of the 80’s and 90’s, which sought to restrict hate speech aimed at marginalized groups, “the current movement is largely about emotional well-being; turning campuses into ‘safe spaces’ where young adults are shielded from words and ideas that make some uncomfortable.”

“Trigger warnings” — signaling that something potentially uncomfortable lies ahead — are now being “demanded for a long list of ideas and attitudes that some students find offensive. Books for which students have called publicly for trigger warnings within the past couple of years include Chinua Achebe’s Things Fall Apart [for describing] racial violence, F. Scott Fitzgerald’s The Great Gatsby [for portraying] misogyny and physical abuse, Virginia Woolf’s Mrs. Dalloway (at Rutgers, for ‘suicidal inclinations’), and Ovid’s Metamorphoses (at Columbia, for sexual assault). In an article published last year by Inside Higher Ed, seven humanities professors wrote that the trigger-warning movement was ‘already having a chilling effect on [their] teaching.’ They reported their colleagues’ receiving ‘phone calls from deans and other administrators investigating student complaints that they have included ‘triggering’ material in their courses, with or without warnings.’ A trigger warning, they wrote, ‘serves as a guarantee that students will not experience unexpected discomfort.’”

Shielding people from experiences that might cause them emotional discomfort, however, doesn’t help them actually overcome their anxiety. “According to the most-basic tenets of psychology,” Lukianoff and Haidt write, “The very idea of helping people with anxiety avoid the things they fear is misguided. A person who is trapped in an elevator during a power outage may panic and think she is going to die. That frightening experience can change neural connections in her amygdala, leading to an elevator phobia. If you want this woman to retain her fear for life, you should help her avoid elevators.”

And if you want a generation to fear of intimacy, then help them avoid feeling anything uncomfortable. For what could be more fundamentally discomforting than love?

“You know, if you ask somebody to go to bed with you, and they say, ‘No, thank you,’ you certainly don’t kill yourself or slip into a clinical depression,” Fisher says. But people who are rejected in love do. “We live for love. We kill for love. We die for love. It is one of the most powerful brain systems on Earth for both great joy and great sorrow.”

Trigger warning: Love will make you feel.

It’s telling that amidst the 6,000+ words about the sex lives of 21st century 20-somethings in Sales’ article, “love” makes an appearance just once: “What about the still-flickering chance that somebody might fall in love?” she asks.

“Some people still catch feelings in hookup culture,” Sales quotes Meredith, a Bellarmine sophomore. “It’s not like just blind fucking for pleasure and it’s done; some people actually like the other person. Sometimes you actually catch feelings and that’s what sucks, because it’s one person thinking one thing and the other person thinking something completely different and someone gets their feelings hurt. It could be the boy or the girl.”

It’s an interesting turn of phrase, “catch feelings,” that has pervaded our contemporary conception of ourselves. It connotes that feelings are a contamination, a sickness you contract, a disease of some kind. An STD.

“People acquire their fears not just from their own past experiences,” Lukianoff and Haidt write, “But from social learning as well. If everyone around you acts as though something is dangerous — elevators, certain neighborhoods, novels depicting racism — “ feelings “ — then you are at risk of acquiring that fear too. “

In a sense, both the Japanese celibacy syndrome, and the west’s “psychosexual obesity” can be seen symptoms the same viral fear of our feeling selves. After all, if it makes you feel nothing either way, does it really matter how much sex you’re having, or any at all? You could practically hear the Americans in Sales’ article straining for the word mendokusai. Both cultures have convinced themselves that emotional necrosis is the cure; it’s too much trouble to feel.

“Love possesses you,” as Fisher says, “you lose your sense of self. You can’t stop thinking about another human being. Somebody is camping in your head.” That kind of insurgent invasion on our prized individualism has come to seem beyond trouble: it’s terror.

Ironically, it is through exposure and acclimation to that which we fear that we reduce anxiety. By confronting the things we’re scared of and realizing we can handle them, we rewire the brain to associate previously feared situations with normalcy. Anxiety is literally the inability to cope with what we feel. If all we’re trying to do is avoid catching feelings, never learning how to live with them, it’s no surprise anxiety would be on the rise.

What happens when a generation so terrified of even just reading something that might make them feel uncomfortable they’ll voluntarily censor classic literature rather than cope with the emotions art stirs up collides with technology that reduces us all to objects? And what happens when the people creating our technology have grown up in that same environment, mirroring its emotional bankruptcy back to us via the products they create?

“Keep playing,” Tinder encourages whenever a user gets a match. On this platform for finally, truly “gamifying” sex, there’s no room for feeling. People are prizes and bodies are points and feelings don’t accrue you anything, so what’s the point of having them? They are inefficient and invisible. (You can’t even post a photo; did they happen at all?)

Maybe one day in the future we’ll invent technology for that too. Botox the bugs in the brain that feel grief or sorrow or loss or love. Lobotomize ourselves into an Eternal Sunshine state of mind. But in the meantime, we are still human, feeling beings, who increasingly view their own feeling nature as a contamination.

Imagine a 13 year old today. Too young to have ever known how it’s like to to fall in love or go on a date or be in a relationship — but old enough to be on Tinder. What will coming of age in this environment be like for them? Porn is already how an entire generation learns how to have sex. What will being swallowed up into a ceaseless stream of swipe-able sex objects teach them about how to love?

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Loss.

“Who knows how to make love stay?” Tom Robbins asked in Still Life with Woodpecker:

1. Tell love you are going to Junior’s Deli on Flatbush Avenue in Brooklyn to pick up a cheesecake, and if loves stays, it can have half. It will stay.

2. Tell love you want a momento of it and obtain a lock of its hair. Burn the hair in a dime-store incense burner with yin/yang symbols on three sides. Face southwest. Talk fast over the burning hair in a convincingly exotic language. Remove the ashes of the burnt hair and use them to paint a moustache on your face. Find love. Tell it you are someone new. It will stay.

3. Wake love up in the middle of the night. Tell it the world is on fire. Dash to the bedroom window and pee out of it. Casually return to bed and assure love that everything is going to be all right. Fall asleep. Love will be there in the morning.

    



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The Last Exit To The Millennium

“Those of us who watched Kids as adolescents,” writes Caroline Rothstein, in her Narrative.ly piece Legends Never Die, “Growing up in an era before iPhones, Facebook, and Tiger Moms, had our minds blown from wherever we were watching–whether it was the Angelika Film Center on the Lower East Side or our parents’ Midwestern basements. We were captivated by the entirely unsupervised teens smoking blunts, drinking forties, hooking up, running amok and reckless through the New York City streets…. Two decades after [the] film turned Washington Square skaters into international celebrities, the kids from ‘Kids’ struggle with lost lives, distant friendships, and the fine art of growing up.”

If you came up in the 90’s, you remember Kids. But I’d hardly given it a backward glance in ages. Had it really been two decades? It seemed somehow inconceivable. The cast, none of them professional actors, all plucked from the very streets they skated on, had become fixed in my mind as eternal teenagers, immortalizing a hyperbolized — and yet, not entirely foreign — experience. Kids was grotesque and dirty and self-indulgent and unignorable, and so was high school. Which is where I, and my friends, were at the time. The movie had become internalized. I had entirely forgotten that this was where Chloe Sevigny and Rosario Dawson had come from. Like a rite of passage, it seemed to carry a kind of continuity, like it was something everyone goes through. It seemed disconnected from any kind of evolving timeline.

And yet time had passed. Revisiting the lives of the cast 20 years later, Rothstein writes, “Justin Pierce, who played Casper, took his life in July 2000, the first of several tragedies for the kids. Harold, who played himself in the film and is best remembered for swinging his dick around in the pool scene—he was that kid who wasn’t afraid, who radiated a magnetic and infectious energy both on and off screen—is gone too. He died in February 2006 from a drug-induced heart attack.” Sevigny and Dawson have become successful actors. Others tied to the crew have gone on to lead the skate brand Zoo York, and start a foundation that aims to “use skateboarding as a vehicle to provide inner-city youth with valuable life experiences that nurture individual creativity, resourcefulness and the development of life skills.” But the most striking story for me, however, was of what happened over the past 20 years to the movie’s most profoundly central character:

“I think that Kids is probably the last time you see New York City for what it was on film,” [says, Jon “Jonny Boy” Abrahams.] “That is to me a seminal moment in New York history because right after that came the complete gentrification of Manhattan.”

Kids immortalizes a moment in New York City when worlds collided–“the end of lawless New York,” Eli [Morgan, co-founder of Zoo York] says–before skateboarding was hip, before Giuliani cleaned up, suited up, and wealthy-ed up Manhattan.

“I don’t think anyone else could have ever made that movie,” says Leo [Fitzpatrick, who played the main character, Telly]. “If you made that movie a year before or after it was made, it wouldn’t be the same movie.”

Kids‘ low-budget grit and amateur acting gave it a strange ambivalence. It was neither fully fictional nor fully real. It blurred the line between the two in a way that it itself did not quite fully understand — it was the very, very beginning of “post-Empire,” when such ambiguities would become common — and neither did we. Detached from  the confines of the real and the fictional, it had a sense of also being out of time. But it turns out it was in fact the opposite. Kids was a time capsule. As Jessica [Forsyth] says in the article: “It’s almost like Kids was the dying breath of the old New York.”

It’s a strange thing. One day you wake up and discover that culture has become history. In the end it wasn’t a dramatic disaster or radical new technology that changed the narrative in an instant. It was a transition that happened gradually. The place stands still, and time revolves around it; changes it the way wind changes the topography of dunes.

Just a few days after Rothstein’s piece, I read these truly chilling words in The New York Times:

“The mean streets of the borough that rappers like the Notorious B.I.G. crowed about are now hipster havens, where cupcakes and organic kale rule.”

For current real estate purposes, the block where the Brooklyn rapper Notorious B.I.G., whose real name was Christopher Wallace, once sold crack is now well within the boundaries of swiftly gentrifying Clinton Hill, though it was at the edge of Bedford-Stuyvesant when he was growing up. Biggie, who was killed under still-mysterious circumstances in 1997, was just one of the many rappers to emerge from Brooklyn’s streets in the ’80s and ’90s. Including successful hardcore rappers, alternative hip-hop M.C.s, respected but obscure underground groups and some — like KRS-One and Gang Starr — who were arguably all of the above, the then-mean streets gave birth to an explosion of hip hop. Among the artists who lived in or hung out in this now gentrified corner of the borough: Not only Jay-Z, but also the Beastie Boys, Foxy Brown, Talib Kweli, Big Daddy Kane, Mos Def and L’il Kim.

For many, the word “Brooklyn” now evokes artisanal cheese rather than rap artists. The disconnect between brownstone Brooklyn’s past and present is jarring in the places where rappers grew up and boasted about surviving shootouts, but where cupcakes now reign. If you look hard enough, the rougher past might still be visible under the more recently applied gloss. And if you want to buy a piece of the action, Biggie’s childhood apartment, a three-bedroom walk-up, was recently listed by a division of Sotheby’s International Realty. Asking price: $725,000.

When we imagine the world of the future, it is invariably a world of science fiction. It’s always, “Here’s what Los Angeles might look like in seven years: swamped by a four-foot rise in sea level, California’s megalopolis of the future will be crisscrossed with a thousand miles of rail transportation. Abandoned freeways will function as waterslides while train passengers watch movies whiz by in a succession of horizontally synchronized digital screens. Foodies will imbibe 3-D-printed protein sculptures extruded by science-minded chefs.”

It’s always impersonal. The future,  even one just seven years away, seems always inhabited entirely by future-people. It’s not a place where we actually imagine….ourselves. Who will we be when the music that speaks to us now becomes “Classic” (Attention deficit break: “Elders react to Skrillex“); when the movies or TV shows or — lets be real, it’s most likely going to be — web content that captures the spirit of  this moment becomes a time capsule instead of a reflection? When once counter-cultural expressions — like skating, or hip hop — become mainstream? Who will we be when there is no longer a mainstream, or a counter-culture, for that matter? And who will the teenagers of this future be when the culture of their youth ages?

The past isn’t a foreign country. It’s our hometown. It’s the place we left, that has become immortalized in our memory the way it was back then. We return one day to discover new buildings have sprung up in empty lots, new people have moved in and displaced the original residents. Some from the old neighborhood didn’t made it out alive. The past has moved while we weren’t looking. It’s no longer where it was at all.

“In the ’80s and ’90s–as strange as it may seem to say this–we had such luxury of stability,” William Gibson, the once science-fiction writer who popularized the word “cyberspace,” and turned natural realist novelist in the 21st-century, said in a 2007 interview. “Things weren’t changing quite so quickly in the ’80s and ’90s. And when things are changing too quickly you don’t have any place to stand from which to imagine a very elaborate future.”

Yet this week, it seems to me the more mysterious our future, the more the past becomes a moving target.

Then again, perhaps it always was.

Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run… but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant.…

History is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened.

There was madness in any direction, at any hour. You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning.… We had all the momentum; we were riding the crest of a high and beautiful wave.…

So now, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.”

– Hunter S. Thompson

highwatermarknewyork
Map of New York City showing the remnants of the 6ft high water line from Hurricane Sandy.
Crom Martial Training, Rockaway Beach. (Source)

 

    



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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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Sex, Drugs, & The Internet – Inspired By A True Story

background

You know those movies about characters trail-blazing the business of some terrible vice? They’re always set in a not-too-distant past, have trailers full of period-specific songs, and include the words “inspired by a true story” on the poster. There’s the initial meteoric rise to power and wealth, followed by a period of unbridled excess — generally involving use of montage — and, ultimately, the inevitable downfall which was doomed to happen from the start, with, possibly, an epilogue of redemption. It’s a very specific film archetype, wherein the traditional bad guy is, instead, the quintessential American hero: the visionary entrepreneur who possesses the ingenuity and tenacity and just plain balls to seize an opportunity only he can see, and achieve a feat so stupendous — inventing the American cocaine trade, for instance, becoming the first black man to rise above the Italian mafia in the New York heroin business — you’re at once inspired and horrified by his success.

In 2001, Blow kicked off this trend of movies where you’re rooting for the drug dealer. The movie’s based on the life of George Jung, played by Johnny Depp, a Boston guy living in California, who starts off smuggling pot cross-country in the 60’s, and ends up becoming the American connection to Pablo Escobar’s Medellín Cartel, which, with Jung’s help, would go on to own 85% share of the U.S. cocaine market by the late 70’s / early 80’s:

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Then came 2005’s Lord of War, in which the illicit contraband is weaponry, and Nicolas Cage plays Ukranian-American gun trafficker, Yuri Orlov — a fictional character based on a composite of a number of actual post-soviet arms dealers — whose big break comes as he watches Mikhail Gorbachev give his resignation speech on television, Christmas Day 1991. Like a prospector who’s just struck oil (See also: There Will Be Blood, for a variation on this cinematic theme), he envisions, in this moment, the future of his business expanding with the gush of weapons — even tanks! — he’ll now be able to buy (illegally) from the just-dissolved Soviet Union’s stockpile in the Ukraine:

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2005 was also the year Weeds premiered on Showtime, in which Mary-Louise Parker plays a widowed housewife who becomes a suburban pot dealer, and a few seasons later ends up married to the head of a Mexican drug cartel.

By 2008, when American Gangster came out — which tells the story of Frank Lucas, played by Denzel Washington, who bypassed the entire Italian mafia to become the heroin king-pin of New York in the early 70’s by establishing his own direct supply connection in Asia during the Vietnam war and smuggling the drugs into the U.S. in the coffins of dead U.S. soldiers — rooting for the vice-peddling, psychotically enterprising, imminently doomed outlaw businessman — even though, good god! he’s a fucking heroin drug lord turning all of Harlem into addicted zombies!! — had become a familiar experience:

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Which is how we arrive at Middle Men, due out later this year, a based-on-reality story in which Luke Wilson plays Jack Harris, a mainstream businessman who partners with a pair of porn content providers (played by Gabriel Macht and Giovanni Ribisi) to form the first online adult billing company in the mid 1990’s:

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The drug dealer used to ALWAYS be the bad guy. You weren’t supposed to sympathize with him. Now it’s every fuckin’ movie like this. But the story isn’t just about the clever bastard with an idea for a supply to human nature’s demand, it’s about the vice itself. It’s not just George Jung’s story, it’s the history of blow we’re fascinated by — how a chance cell-mate pairing between a California pot smuggler and a member of the Medellín cartel would pave the way for the U.S. cocaine highway. How the Vietnam war became the camouflage for the heroin epidemic Frank Lucas created. How the Soviet Union’s collapse helped the business of illegal arms dealers. Each of these stories has this moment where entrepreneur and zeitgeist collide, and — for better or worse; mostly for worse — it changes the world. In Middle Men the focus of the story could have easily been the porn industry — but it isn’t. Porn is just the side effect. Like the preview voice-over announcer says, it’s the story of the worldwide web.

Finally.

It’s 2010. 20 years since the first web browser, 15 years since the first adult materials became commercially available online, 10 years since the dot com bubble burst, 5 years since MySpace was getting more page-views than Google, a year since Facebook overtook MySpace in unique visitors, and meanwhile, Americans now spend, on average, about as much time on the Internet as watching TV. In fact, if you’re under the age of 45, you spend considerably more time on the Internet than watching TV. Amid a global financial crisis, US online retail managed to grow 11% in 2009 to reach $155.2 billion. Overall online sales are projected to increase almost 200% between 2008 and 2012. 75% of us use social network sites. And the time we spend there is growing at 3 times the overall Internet rate, accounting for 10% of all Internet time — every second of which, by the way, 28,258 internet users are viewing porn.

Hollywood is finally catching on. Up next after Middle Men is the film adaptation of Ben Mezrich’s 2009 book, The Accidental Billionaires: The Founding Of Facebook, A Tale of Sex, Money, Genius, and Betrayal. It comes out just a couple of weeks after Wall Street 2:

article_image-image-article

Here’s an excerpt from the book:

What neither he nor Mark [Zuckerberg, Facebook founder] had known when they started the damn thing was how addictive Facebook was. You didn’t just visit the site once. You vsited it every day. You came back gain and again, adding to your site, your profile, changing your pictures, your interestes, and most of all, updating your friends.

… Most kids who tried out [Facebook] once tended to come back  — 67 percent every day.

The Internet: It might not be illegal, but it’s unquestionably addictive.

Once considered the province of geeks, the Internet is now where all of us live. It is a huge, enormous thing that is changing how we do practically everything and permeating the very experience of our lives. It is now all of our’s vice. And it’s breeding a whole new generation of vice entrepreneurs. Drug dealers and gunrunners have new company.

In related news, is it just me or does the new poster for The Social Network seem, like, awfully familiar?

http://social-creature.com/wp-content/uploads/2010/06/socialnetwork.jpg

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http://social-creature.com/wp-content/uploads/2010/06/americapsycho.jpg

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Just sayin’.

socialnetwork-americanpsycho

    



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subliminal messages

The latest short film from London Squared Productions. Urban Anthropologists, Andy and Carolyn London interview some of New York City’s more overlooked citizens.

Love it!

    



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