Sell them their dreams. Sell them what they longed for and hoped for and almost despaired of having. Sell them hats by splashing sunlight across them. Sell them dreams--dreams of country clubs and proms and visions of what might happen if only. After all, people don't buy things to have things. They buy things to work for them. They buy hope--hope of what your merchandise will do for them. Sell them this hope and you won't have to worry about selling them goods.
--Helen Landon Cass
Those words were spoken some years ago by a female radio announcer to a convention of salesmen in Philadelphia. The Philadelphia Retail Ledger for June 6, 1923, recorded Ms. Cass' invocations with no surrounding explanation. They were simply noted as a matter of record, not as a startling insight.
There are two ways to read her spiel. You can read it like a melancholy Marxist and see the barely veiled indictment of the selling process. What does she think consumers are--dopes to be duped? What is she selling? Snake oil?
Or you can read it like an unrepentant capitalist and see the connection between consuming goods and gathering meaning. The reason producers splash magical promise over their goods is because consumers demand it. Consumers are not sold a bill of goods; they insist on it. Snake oil to the cynic is often holy water to the eager. What looks like exploiting desire may be fulfilling desire.
How you come down in this matter depends on your estimation of the audience. Does the audience manipulate things to make meaning, or do other people use things to manipulate the audience? Clearly, this is a variation of "I persuade, you educate, they manipulate," for both points of view are supportable. Let's split the difference and be done with it.
More interesting to me, however, is to wonder why such a statement, so challenging, so revolutionary, so provocative in many respects was, in the early 1920s, so understandable, so acceptable, even so passé that it appears with no gloss. Why is it that when you read the early descriptions of capitalism, all the current bugaboos--advertising, packaging, branding, fashion, and retailing techniques--seem so much better understood?
And why has the consumer--playing an active, albeit usually secondary, part in the consumptive dyad of earlier interpretations--become almost totally listless in our current descriptions? From Thomas Hobbes in the mid-17th century ("As in other things, so in men, not the seller but the buyer determines the price") to Edwin S. Gingham in the mid-20th century ("Consumers with dollars in their pockets are not, by any stretch of the imagination, weak. To the contrary, they are the most merciless, meanest, toughest market disciplinarians I know"), the consumer was seen as participating in the meaning-making of the material world. How and why did the consumer get dumbed down and phased out so quickly? Why has the hypodermic metaphor (false needs injected into a docile populace) become the unchallenged explanation of consumerism?
I think that much of our current refusal to consider the liberating role of consumption is the result of who has been doing the describing. Since the 1960s, the primary "readers" of the commercial "text" have been the well-tended and -tenured members of the academy. For any number of reasons--the most obvious being their low levels of disposable income, average age, and gender, and the fact that these critics are selling a competing product, high-cult (which is also coated with its own dream values)--the academy has casually passed off as "hegemonic brainwashing" what seems to me, at least, a self-evident truth about human nature: We like having stuff.
In place of the obvious, they have substituted an interpretation that they themselves often call vulgar Marxism. It is supposedly vulgar in the sense that it is not as sophisticated as the real stuff, but it has enough spin on it to be more appropriately called Marxism lite. Go into almost any cultural studies course in this country and you will hear the condemnation of consumerism expounded: What we see in the marketplace is the result of the manipulation of the many for the profit of the few. Consumers are led around by the nose. We live in a squirrel cage. Left alone we would read Wordsworth, eat lots of salad, and have meetings to discuss Really Important Subjects.
In cultural studies today, everything is oppression and we are all victims. In macrocosmic form, the oppression is economic--the "free" market. In microcosmic form, oppression is media--your "free" TV. Here, in the jargon of this downmarket Marxism, is how the system works: The manipulators, a.k.a. "the culture industry," attempt to enlarge their hegemony by establishing their ideological base in the hearts and pocketbooks of a weak and demoralized populace. Left alone, we would never desire things (ugh!). They have made us materialistic. But for them, we would be spiritual.
To these critics, the masters of industry and their henchmen, the media lords, are predators, and what they do in no way reflects or resolves genuine audience concerns. Just the opposite. The masters of the media collude, striving to infantilize us so that we are docile, anxious, and filled with "reified desire." While we may think advertising is just "talking about the product," that packaging just "wraps the object," that retailing is just "trading the product," or that fashion is just "the style of the product," this is not so. That you may think so only proves their power over you. The marginalized among us--the African American, the child, the immigrant, and especially the female--are trapped into this commodifying system, this false consciousness, and this fetishism that only the enlightened can correct. Legendary ad man David Ogilvy's observation that, "The consumer is no fool, she is your wife" is just an example of the repressive tolerance of such a sexist, materialist culture.
Needless to say, in such a system the only safe place to be is tenured, underpaid, self-defined as marginalized, teaching two days a week for nine months a year, and writing really perceptive social criticism that your colleagues can pretend to read. Or rather, you would be writing such articles if only you could find the time.
The Triumph of Stuff
The idea that consumerism creates artificial desires rests on a wistful ignorance of history and human nature, on the hazy, romantic feeling that there existed some halcyon era of noble savages with purely natural needs. Once fed and sheltered, our needs have always been cultural, not natural. Until there is some other system to codify and satisfy those needs and yearnings, capitalism--and the culture it carries with it--will continue not just to thrive but to triumph.
In the way we live now, it is simply impossible to consume objects without consuming meaning. Meaning is pumped and drawn everywhere throughout the modern commercial world, into the farthest reaches of space and into the smallest divisions of time. Commercialism is the water we all swim in, the air we breathe, our sunlight and shade. Currents of desire flow around objects like smoke in a wind tunnel. The complications of my Miata purchase (see "How I Bought My Miata," page 24) are the norm.
This isn't to say that I'm simply sanguine about such a material culture. It has many problems that I have glossed over. Consumerism is wasteful, it is devoid of otherworldly concerns, it lives for today and celebrates the body. It overindulges and spoils the young with impossible promises. It encourages recklessness, living beyond one's means, gambling. Consumer culture is always new, always without a past. Like religion, which it has displaced, it afflicts the comfortable and comforts the afflicted. It is heedless of the truly poor who cannot gain access to the loop of meaningful information that is carried through its ceaseless exchanges. It is a one-dimensional world, a wafer-thin world, a world low on significance and high on glitz, a world without yesterdays.
On a personal level, I struggle daily to keep it at bay. For instance, I am offended by billboards (how do they externalize costs?); I fight to keep Chris Whittle's Channel One TV and all place-based advertising from entering the classroom; political advertising makes me sick, especially the last-minute negative ads; I contribute to PBS in hopes they will stop slipping down the slope of commercialism (although I know better); I am annoyed that Coke has bought all the "pouring rights" at my school and is now trying to do the same to the world; I think it's bad enough that the state now sponsors gambling, do they also have to support deceptive advertising about it?; I despise the way that amateur athletics has become a venue for shoe companies (why not just replace the football with the Nike swoosh and be done with it?); and I just go nuts at Christmas.
But I also realize that while you don't have to like it, it doesn't hurt to understand it and our part in it. We have not been led astray. Henry Luce was not far off when he claimed in a February 1941 editorial in Life magazine that the next era was to be the American Century: "The Greeks, the Romans, the English and the French had their eras, and now it was ours." Not only that, but we are likely to commandeer much of the 21st century as well.
Almost a decade ago, Francis Fukuyama, a State Department official, contended in his controversial essay (and later book) "The End of History?" that "the ineluctable spread of consumerist Western culture" presages "not just the end of the Cold War, or the passing of a particular period of postwar history, but the end of history as such: that is, the end point of mankind's ideological evolution." OK, such predictions are not new. "The End of History" (as we know it) and "the end point of mankind's ideological evolution" have been predicted before by philosophers. Hegel claimed it had already happened in 1806 when Napoleon embodied the ideals of the French Revolution, and Marx said the end was coming soon with world communism. What legitimizes this modern claim is that it is demonstrably true. For better or for worse, American commercial culture is well on its way to becoming world culture. The Soviets have fallen. Only quixotic French intellectuals and anxious Islamic fundamentalists are trying to stand up to it.
To some degree, the triumph of consumerism is the triumph of the popular will. You may not like what is manufactured, advertised, packaged, branded, and broadcast, but it is far closer to what most people want most of the time than at any other period of modern history.
Trollope and The Jerk
Two fictional characters personify to me the great divide: Augustus Melmotte, the protagonist of Anthony Trollope's 19th-century novel, The Way We Live Now, and Navin R. Johnson, the eponymous hero of Steve Martin's 1979 movie, The Jerk.
Melmotte, a Jew, comes from Paris to London with his daughter and his Bohemian wife. When the action of the novel is over and Augustus has committed suicide because he cannot fit in to proper Victorian society, wife and daughter head off to America--to San Francisco, to be exact. Trollope is always exact in letting you know that geography determines character. So too we know that Ruby Ruggles and her bumpkin brother belong at Sheep's Acres Farm and that Roger Carbury should preside over Carbury Hall. Sir Felix Carbury, fallen from grace, must go to Germany--there is no room for his kind, no club that will accept him. Mrs. Hurtle comes from San Francisco and in the end must return there.
Any Trollope lover worth his salt can tell you much about the protagonists simply by such comings and goings. These paths are the code by which our grandparents recognized, in Dominick Dunne's felicitous title, those who are "people like us": our kind/not our kind. The Victorian reading public needed such shorthand because things had no brand personalities--manners, places, sinecures--and bloodlines did. Salaries meant little, accomplishments even less. The central acts of The Way We Live Now are the attempts by Augustus Melmotte to buy a titled husband for his daughter and get a named estate for himself. He can't do it, of course--how silly to try, even if he is the "City's most powerful financier." In his world, meaning was generated through such social conventions as the abstract concept of bloodline, the value of patina, your club, owning land, acceptable in-laws, your accent, the seating chart for dinner, the proper church pew--all things Melmotte could never master. It was a stultifying system--a real old-boy network, but one that to Trollope still worked. It was a system presided over by chummy squires, comfortable gentlemen, and twinkling clerics.
Compare that to the world of The Jerk. Here, the story is held together by the running joke that when Navin R. Johnson is being the most idiotic, he is really being the most savant. After a series of misadventures, Navin amasses a fortune by inventing a way to keep eyeglasses from slipping down the nose (the "Opti-grab"). He wins the hand of his sweetheart, buys incredibly gauche gold chains, swag lamps, outrageous golf carts, and ersatz Grecian mansions. Surrounded by things, he is finally happy. But then--curses!--he loses his possessions as a google-eyed litigant wins a class-action lawsuit because the Opti-grab has made many wearers cross-eyed. Navin's wife is distraught. She bursts into tears. "I don't care about losing the money, it's losing all this stuff."
Navin, as innocent as he is honest, says he doesn't really care about these things, he knows who he is without possessions. His sense of self is certainly not tied to the material world. "I don't want stuff...I don't need anything," he says to her as he starts to leave the room in his pajamas. He sees an old ashtray. "Except this ashtray, and that's the only thing I need is this," he says, as he leans over to pick it up. Navin walks to the door. "Well, and this paddle game and the ashtray is all I need. And this, this remote control; that's all I need, just the ashtray, paddle game, and this remote control."
Navin is growing progressively more frantic in vintage Steve Martin fashion. He is in the hall now, pajamas down around his knees and his arms full of stuff. "And these matches. Just the ashtray, paddle ball, remote control, and these matches...and this lamp, and that's all I need. I don't need one other thing...except this magazine." We hear him gathering more things as he disappears down the hall. Navin, jerk enough to think he needs nothing, is sage enough not to leave home without a few of his favorite things.
Augustus Melmotte, certified world-class financier, is forever kept at bay. He never achieves his goal and finally commits suicide. Navin R. Johnson, certified consumer jerk, achieves (if only for a while) the objects of his heart's desire. He finally becomes a bum on Skid Row, true, but a bum who at least can try it all over again. In a consumerist culture, the value-making ligatures that hold our world together come from such conventions as advertising, packaging, branding, fashion, and even shopping itself. It is a system presided over by marketers who deliver the goods and all that is carried in their wake. It is a more democratic world, a more egalitarian world, and, I think, a more interesting world.
That said, commercialism can be a stultifying system too, and wasteful. It would be nice to think that this eternally encouraging market will result in the cosmopolitanism envisioned by the Enlightenment philosophers, that a "universalism of goods" will end in a crescendo of hosannas. It would be nice to think that more and more of the poor and disenfranchised will find their ways into the cycle of increased affluence without contracting "affluenza," the "disease" of buying too much. It would be nice to think that materialism could be heroic, self-abnegating, and redemptive. It would be nice to think that greater material comforts will release us from racism, sexism, and ethnocentricism, and that the apocalypse will come as it did at the end of Shelley's Prometheus Unbound, leaving us "Sceptreless, free, uncircumscribed...Equal, unclassed, tribeless, and nationless...Pinnacled dim in the intense inane."
But it is more likely that the globalization of capitalism will result in the banalities of an ever-increasing, worldwide consumerist culture. Recall that Athens ceased to be a world power around 400 B.C., yet for the next three hundred years Greek culture was the culture of the world. The Age of European Exposition ended in the mid-20th century; the Age of American Markets--Yankee imperialism--is just starting to gather force. The French don't stand a chance. The Middle East is collapsing under the weight of dish antennas and Golden Arches. The untranscendent, repetitive, sensational, democratic, immediate, tribalizing, and unifying force of what Irving Kristol calls the American Imperium need not result in a Bronze Age of culture, however. In fact, who knows what this Pax Americana will result in? But it certainly will not produce what Shelley had in mind.
We have been in the global marketplace a short time, and it is an often scary and melancholy place. A butterfly flapping its wings in China may not cause storm clouds over Miami, but a few lines of computer code written by some kid in Palo Alto may indeed change the lives of all the inhabitants of Shanghai.
More important, perhaps, we have not been led into this world of material closeness against our better judgment. For many of us, especially when young, consumerism is not against our better judgment. It is our better judgment. And this is true regardless of class or culture. We have not just asked to go this way, we have demanded. Now most of the world is lining up, pushing and shoving, eager to elbow into the mall. Woe to the government or religion that says no.
Getting and spending have been the most passionate, and often the most imaginative, endeavors of modern life. We have done more than acknowledge that the good life starts with the material life, as the ancients did. We have made stuff the dominant prerequisite of organized society. Things "R" Us. Consumption has become production. While this is dreary and depressing to some, as doubtless it should be, it is liberating and democratic to many more.