FISH DON’T KNOW THEY’RE WET: America’s future looks vulgar.
The latest Super Bowl offers the most recent opportunity to reflect on the terminal state of our national culture, held together chiefly by a distractive and unhealthy mania for commercial sports and perfectly exemplified by the infantile yet aggressively transgressive nihilism of a brainless showoff calling himself Bad Bunny and dressed all in white, suggestive perhaps of an anti-Easter Bunny. Why, one wonders, has no political theorist from Hobbes forward posited the ideal human community as one which would combine political democracy with cultural and intellectual aristocracy – as, indeed, America at the time of her founding and for several generations thereafter did? Such an arrangement might satisfy critics of democratic society on the anti-egalitarian right, such as T.S. Eliot, and those on the egalitarian left, like John Rawls, for whom democracy can never be inclusive and participatory enough.
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Other dissenters (in America especially) from the new world in formation attempted to revive the old agrarian tradition, the most famous being the Southern Agrarians in the American South in the 1920s and 1930s whose members included John Crowe Ransom, Allen Tate, Andrew Lytle and Robert Penn Warren. But Agrarianism failed to survive World War Two, while subsequent and more inclusive and popular attempts at resurrecting and promoting the old agricultural values and ways of life – the “back-to-the-land movement” in the 1960s and 1970s, for example, and Wendell Berry’s protest against industrial agriculture and what he calls “the unsettling of America” – were as quixotic in practical terms as they were productive in literary ones.
The tragic fact is that the recreation of any sort of high culture as something more than a footnote to the mass culture represented by Bad Bunny, Taylor Swift, the Kardashians, Billie Eilish, et al. is as impossible as the reestablishment of anything like civil and political peace in the United States – and elsewhere – is. The western world, it seems, is doomed to a future of a vulgar and transgressive popular culture, maintained in the context of angry political division and social chaos.
The earliest halftime performers during the first few years of the Super Bowl included Al Hirt, Carol Channing, the Grambling State University marching band, Doc Severinsen, Lionel Hampton, and Ella Fitzgerald. They would have looked askance at the halftime performers of the last quarter century, which included Aerosmith, the Rolling Stones, The Who, Tom Petty, and the Red Hot Chili Peppers. From the perspective of the jazz-infused performers of the Super Bowl’s early years, the Super Bowl has been quite vulgar indeed since the 1990s.