Flat Earthers and the Double-Edged Sword of American Magical Thinking

Alan Burdick recently wrote a piece for The New Yorker about the “burgeoning” flat Earth movement, a group of people who believe, against simple & overwhelming evidence, that the Earth is not spherical¹ but flat.

If you are only just waking up to the twenty-first century, you should know that, according to a growing number of people, much of what you’ve been taught about our planet is a lie: Earth really is flat. We know this because dozens, if not hundreds, of YouTube videos describe the coverup. We’ve listened to podcasts — Flat Earth Conspiracy, The Flat Earth Podcast — that parse the minutiae of various flat-Earth models, and the very wonkiness of the discussion indicates that the over-all theory is as sound and valid as any other scientific theory. We know because on a clear, cool day it is sometimes possible, from southwestern Michigan, to see the Chicago skyline, more than fifty miles away — an impossibility were Earth actually curved. We know because, last February, Kyrie Irving, the Boston Celtics point guard, told us so. “The Earth is flat,” he said. “It’s right in front of our faces. I’m telling you, it’s right in front of our faces. They lie to us.”

John Gruber remarked on Burdick’s piece by saying:

In recent years I’ve begun to feel conflicted about the internet. On the one hand, it’s been wonderful in so many ways. I’ve personally built my entire career on the fact that the internet enables me to publish as a one-person operation. But on the other hand, before the internet, kooks were forced to exist on the fringe. There’ve always been flat-earther-types denying science and John Birch Society political fringers, but they had no means to amplify their message or bond into large movements.

Another way to put this is that all the people who bought those News of the World-style magazines from the grocery checkout — UFO sightings! Elvis lives! NASA faked the Moon landing! new treatment lets you live 200 years! etc.! — were able to find each other, organize, and mobilize because of the internet. And then they decided to elect one of themselves President.

I recently downloaded the audiobook of Kurt Andersen’s Fantasyland: How America Went Haywire: A 500-Year History and am looking forward to listening to it on my summer roadtrip. Here’s part of the synopsis:

In this sweeping, eloquent history of America, Kurt Andersen shows that what’s happening in our country today — this post-factual, “fake news” moment we’re all living through — is not something new, but rather the ultimate expression of our national character. America was founded by wishful dreamers, magical thinkers, and true believers, by hucksters and their suckers. Fantasy is deeply embedded in our DNA.

Over the course of five centuries — from the Salem witch trials to Scientology to the Satanic Panic of the 1980s, from P. T. Barnum to Hollywood and the anything-goes, wild-and-crazy sixties, from conspiracy theories to our fetish for guns and obsession with extraterrestrials — our love of the fantastic has made America exceptional in a way that we’ve never fully acknowledged. From the start, our ultra-individualism was attached to epic dreams and epic fantasies — every citizen was free to believe absolutely anything, or to pretend to be absolutely anybody.

Gruber’s point about the internet being a double-edged sword appears to be echoed here by Andersen about American individualism. Sure, this “if people disagree with you, you must be doing something right” spirit is responsible for the anti-vaxxer movement, conspiracy theories that 9/11 was an inside job & Newtown didn’t happen, climate change denialism, and anti-evolutionism, but it also gets you things like rock & roll, putting men on the Moon, and countless discoveries & inventions, including the internet.

Update: The Atlantic published an excerpt of Fantasyland last year:

I first noticed our national lurch toward fantasy in 2004, after President George W. Bush’s political mastermind, Karl Rove, came up with the remarkable phrase reality-based community. People in “the reality-based community,” he told a reporter, “believe that solutions emerge from your judicious study of discernible reality … That’s not the way the world really works anymore.” A year later, The Colbert Report went on the air. In the first few minutes of the first episode, Stephen Colbert, playing his right-wing-populist commentator character, performed a feature called “The Word.” His first selection: truthiness. “Now, I’m sure some of the ‘word police,’ the ‘wordinistas’ over at Webster’s, are gonna say, ‘Hey, that’s not a word!’ Well, anybody who knows me knows that I’m no fan of dictionaries or reference books. They’re elitist. Constantly telling us what is or isn’t true. Or what did or didn’t happen. Who’s Britannica to tell me the Panama Canal was finished in 1914? If I wanna say it happened in 1941, that’s my right. I don’t trust books — they’re all fact, no heart … Face it, folks, we are a divided nation … divided between those who think with their head and those who know with their heart … Because that’s where the truth comes from, ladies and gentlemen — the gut.”

Whoa, yes, I thought: exactly. America had changed since I was young, when truthiness and reality-based community wouldn’t have made any sense as jokes. For all the fun, and all the many salutary effects of the 1960s — the main decade of my childhood — I saw that those years had also been the big-bang moment for truthiness. And if the ’60s amounted to a national nervous breakdown, we are probably mistaken to consider ourselves over it.

(thx, david)

1. More properly, the Earth is an oblate spheroid.↩

• Alan Burdick
• Fantasyland: How America Went Haywire
• John Gruber
• Kurt Andersen
• science
• USA

Live from 1914

In late June, Kurt Andersen’s pop culture & arts radio show Studio 360 broadcast an entire show as if it were produced in 1914, crackly static and old-timey radio voice and all.

This week, Studio 360 is broadcasting from 1914, covering the cultural happenings of a remarkable year. Charlie Chaplin debuted the Tramp, the character who defines the silent film era, in that year; one of America’s great newspaper cartoonists invented the first animated character, Gertie the dinosaur; and George Bernard Shaw opened a front in the war between the sexes with Pygmalion.

From HowSound, here’s a behind-the-scenes on how they made Andersen sound like a 1910s radio man.

On this edition of HowSound, the staff at Studio 360 walks us through the metamorphosis of Kurt’s voice. Senior Broadcast Engineer John DeLore dissects the production process including the use a cone from an Edison Standard Phonograph. David talks about writing in the diction of 1914. And, Kurt describes narrating in a stilted and formal voice.

• audio
• Kurt Andersen

The 40-year cycle of pop cultural nostalgia

In the new issue of the New Yorker, Adam Gopnik talks about pop culture’s 40-year cycle of nostalgia.

So it seems time to pronounce a rule about American popular culture: the Golden Forty-Year Rule. The prime site of nostalgia is always whatever happened, or is thought to have happened, in the decade between forty and fifty years past. (And the particular force of nostalgia, one should bear in mind, is not simply that it is a good setting for a story but that it is a good setting for you.)

If you combine this with Kurt Andersen’s recent piece about the slowing rate of change of pop culture, perhaps there’s another lesson here other than Gopnik’s assertion that we’ll be nostalgic for the Obama age 40 years from now. Maybe we’ve reached Peak Nostalgia and in an effort to find more and more nostalgia for an ever-increasing audience, culturemakers are mining more from those eras outside of the appointed 40-year era and as a result, pop culture is feeling more timeless, echoing all eras, until it becomes a culture that can’t draw upon anything but itself.

And if not, I’m looking forward to the return of 70s-style moviemaking in the coming decade.

• Adam Gopnik
• Kurt Andersen

Don’t go changing

In a piece for Vanity Fair, Kurt Andersen argues that for the first time in recent history, American pop culture (fashion, art, music, design, entertainment) hasn’t changed dramatically in the past 20 years.

Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. (And then there’s the miraculous drop in violent crime in the United States, by half.) Here is what’s odd: during these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past — the 00s, the 90s, even a lot of the 80s — looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History.

Think about it. Picture it. Rewind any other 20-year chunk of 20th-century time. There’s no chance you would mistake a photograph or movie of Americans or an American city from 1972-giant sideburns, collars, and bell-bottoms, leisure suits and cigarettes, AMC Javelins and Matadors and Gremlins alongside Dodge Demons, Swingers, Plymouth Dusters, and Scamps-with images from 1992. Time-travel back another 20 years, before rock ‘n’ roll and the Pill and Vietnam, when both sexes wore hats and cars were big and bulbous with late-moderne fenders and fins-again, unmistakably different, 1952 from 1972. You can keep doing it and see that the characteristic surfaces and sounds of each historical moment are absolutely distinct from those of 20 years earlier or later: the clothes, the hair, the cars, the advertising — all of it. It’s even true of the 19th century: practically no respectable American man wore a beard before the 1850s, for instance, but beards were almost obligatory in the 1870s, and then disappeared again by 1900. The modern sensibility has been defined by brief stylistic shelf lives, our minds trained to register the recent past as old-fashioned.

• art
• fashion
• Kurt Andersen
• movies
• music
• TV
• USA