Summary of Is Culture Stuck?

Overview of Decoder Ring — "Is Culture Stuck?"

This episode of Decoder Ring (host Willa Paskin) examines a prominent debate: is contemporary culture—music, film, TV, fashion, and online content—stagnant compared with the rapid, visible stylistic change that characterized much of the 20th century? The conversation centers on arguments from culture critic W. David Marks (author of Blank Space), who says the 21st century has a “blank space” where deep cultural innovation used to be. The episode weighs his case, explores causes (technology, platforms, changing gatekeepers), considers counterarguments (new forms like memes/TikTok; marginal innovation), and closes with practical ideas for nurturing cultural invention.

Key arguments and framing

• The claim: Culture today changes more slowly and less radically than in the mid–20th century. Marks argues cultural innovation lacks the rate and depth it once had—new works often rehash or repackage what already exists, producing a “forever present” feel where nothing is clearly new or dated.
• Historical contrast: 20th-century eras (e.g., the 1940s → 1960s → 1970s → 1980s) showed distinct shifts in sound, look, and taste—example: The Beatles’ rapid stylistic transformation from early rock to Sgt. Pepper’s experimentation.
• Contemporary examples of recycling: Blockbuster films and TV increasingly remake or rely on older IP; music often mines older hooks or samples; catalog licensing and nostalgia-driven hits are lucrative, reducing incentive to innovate.
• Taylor Swift as emblem: Marks suggests modern “genius” is often defined as creating what audiences already want (optimizing for taste) rather than producing genuinely novel art that requires translation and later influence.
• Gatekeeping vs platforms: Traditional cultural gatekeepers (critics, magazines, tastemakers) used to identify and elevate marginal innovation; platforms now use engagement/data incentives, favoring immediately comprehensible, broad-appeal content.
• Technology’s mixed role: The internet promised democratic flourishing and niche diversity, but mass adoption and algorithmic distribution made mainstream-style, highly consumable content dominant (e.g., YouTube makeup/shopping videos vs indie short film).

Evidence and illustrative examples

• Personal anecdote: A 10-year-old hears 2003’s “Milkshake” via a Gap ad and viral dance — illustrates how old songs can become new to younger listeners via commercial/viral reuse.
• Film/music sampling: 2006’s “Young Folks” turned up in the Top Gun: Maverick soundtrack—shows recontextualization of past hits.
• The Beatles: Rapid cross-genre experimentation is used to illustrate the speed of mid-20th-century cultural shifts.
• Kraftwerk vs Tony Orlando: Example of how some creators (Kraftwerk) were minor at first but proved historically influential, while some mainstream hits (Tony Orlando) faded—warning against judging an era by immediate popularity alone.
• Trap music: Cited as a contemporary example of a marginal scene (Atlanta) becoming massively influential across genres—evidence that the ecosystem model of innovation still works sometimes.
• Online content forms: Memes and TikTok represent a new expressive language; they may lack the long-form depth of novels/albums but can be culturally defining in other ways.

Counterarguments and nuances discussed

• It may be too soon: New online forms (memes, short video) could take decades to “cook” into complex, revisitable cultural artifacts.
• Narrative bias: We often equate “what’s popular now” with cultural value; many historically important works were small at first.
• Newness in format: Some cultural innovation may be happening in forms not analogous to 20th-century albums/films—e.g., participatory online cultures, meme-driven discourse, and short-form aesthetics.
• Democratic value tradeoff: Flattening distinctions between “high” and “low” art broadened access and joy, which critics shouldn’t dismiss out of hand.

Political and social dimensions

• Transgression and mainstream: Historically, subcultures transgressed a conservative mainstream; when the elite mainstream adopts progressive norms, transgression can move toward other agendas (including right-wing provocations) that do not advance artistic innovation.
• Both political sides uncomfortable with avant-garde: The left’s egalitarian instincts can view elite, difficult art as exclusionary; the right’s contrarianism often values provocation over genuine artistic progress.

Main takeaways

• There’s a credible argument that mainstream cultural production in the 21st century is less formally adventurous and quicker to recycle older elements, partly because of platform incentives and the disappearance of certain gatekeeping mechanisms.
• But innovation still exists—often at the margins, in new formats (memes, TikTok), or in subcultures that could later reshape the mainstream (Trap is cited as a modern success story).
• The form of cultural invention may be changing rather than dying; however, platforms that optimize for immediate comprehension and engagement make it harder for difficult, long-term‑influence work to surface widely.
• Cultural health requires intentionality: relying on “what rises to the top” under current platforms won’t necessarily sustain deep innovation.

Recommendations / action items (what listeners can do)

• Be deliberate in consumption: Don’t be purely algorithm-driven—seek out critics, curated playlists, and longform recommendations.
• Support fringe and experimental creators: Attend shows, buy from small artists, subscribe or donate to experimental outlets and independent media.
• Read and share critical work: Amplify cultural criticism and writing that highlights marginal innovation (helps recreate the old ecosystem role of tastemakers).
• Give new forms time: Recognize memes and short-form video as emergent languages that might bear long-term cultural fruit—observe as well as judge.
• Cultivate local scenes: Engage with local arts communities and small venues—small groups can seed larger shifts.

Notable quotes and memorable lines

• Blank Space (book title): the “blank space” as a metaphor for missing cultural invention in the 21st century.
• “We’ve been on autopilot for 25 years.” — Marks’ diagnosis that cultural attention and intervention have been lax.
• “Culture is good if you want it.” — The idea that cultural vitality requires intentional desire and support.

Further reading / listening

• W. David Marks, Blank Space: A Cultural History of the 21st Century (discussed in the episode).
• Marks’ newsletter/substack: Culture and Owner's Manual (recommended by the host).
• Decoder Ring episode page (for bonus content and links) — Slate Plus offers ad-free and bonus access.

Produced by Slate’s Decoder Ring, this episode is a concise exploration of whether culture is stuck, why some think so, what counts as evidence, and practical ways listeners can help steer cultural change.