Today's
New York Times Opinions podcast features a conversation about "
The Aesthetic that Explains American Identity Now." The alternative headline is "MAGA and the Country Aesthetic." Here's the NYT's overview description of the episode:
Rural aesthetics are in, from cowboy boots to country albums by pop stars to pastoral idealism peddled by influencers. The New York Times Opinion editor Meher Ahmad speaks to the columnist Tressie McMillan Cottom and the contributor Emily Keegin about what these cultural touch points mean for our politics and society at large.
Before including some key quotes, I'll just observe that I think the commentator's argument is overstated. Here are some excerpts:
Ahmad: Both Tressie and Emily are keen observers of the cultural zeitgeist, and in their own spheres they’ve been noticing an ongoing mainstreaming of all things country and rural. Think shows like “Yellowstone” and “The Hunting Wives”. Pop stars like BeyoncĂ© and Sabrina Carpenter produce country songs as part of their repertoire. And tradwife influencers like Hannah Neeleman, popularly known on social media as Ballerina Farm, has now more than 10 million followers.
* * *
McMillan Cottom: There’s a show where a farmer takes a wife ... But you can even get into shows that aren’t as character driven, where the rurality is actually a character. So then you’ve got shows where there are alligator hunters in Louisiana, a show called “Swamp People.”
* * *
Keegin: Yes. I think we’ve had a very long romance with rural aesthetics in this country. (emphasis added)
And after the second Trump win, what I noticed was there was a big cowboy trend that took off. Denim is big. Western culture is big. “S.N.L.” this season had a musical act in a hayloft. Realtree coming in and dominating the sweatshirt world.
Ok, honest confession, I had to look up "Reatree." Had no idea what that was. I had heard of a realty company with a similar name selling rural properties. As best I can tell, the two are not related.
Keegin: Well, OK. Where would you have seen it? You would have seen the pattern on the merch of Chappell Roan. She has a hat that says “Midwest Princess.” And Midwest Princess, I think, is part of this trend, as well. That was picked up by the Harris Walz campaign. If you recall they also had a Camo hat.
* * *
McMillan Cottom: When we’re talking about being romantic for rural life, we’re really talking about an imaginary place. This isn’t really the rural life that actual people who live in rural America tend to be familiar with. These are signifiers that are maybe less about a physical place, a geography. (emphasis added)
I would say the divide is between nostalgia and today’s politics. It manifests in many different ways. But when you say something like “Make America Great,” that’s a backward-looking vision. That is not about the future — although it’s trying to own the idea of what the future should look like. It is really calling to a nostalgia for an imagined American past where all families were “traditional” and all women were real women and home life looked this way.
* * *
Keegin: We look at how culture changed through the Clinton years and what was on TV. And when the rural revolt happened in 1994, we had a narrative around that about a shift in a rising conservative culture in this country — which was absolutely true. Narratives are based in truth. And our television shows followed that.
* * *
McMillan Cottom: [K]eeping in mind that when we talk about Donald Trump being a sort of a quintessential New York urban figure, that may be true in his biography, but we’re not talking about real places when we talk about urban versus rural.
And when you appeal to rural, you are always, always, calling up the idea of urban. These two things exist at the same time. So that’s the first thing.
The second thing is: I would say that what Donald Trump does — the way he enters into the rural imagination: He does it through Southernness.
* * *
I think that what Donald Trump does is he becomes associated with rural life because of how often he has appealed to Southernness, when he, of course, raises the specter of racism or raises the specter of genteel womanhood — all of those things that the South is kind of known for.
They came in the figure of Donald Trump and his rhetoric, so we keep this big treasure chest — a repertoire of ideas in the South. And when somebody wants to call them up, they can go and open the toy chest, and there it is. You can pull out the Confederate flag, and you can pull out songs of the South or whatever it is.
And suddenly, people’s imagination is in the South. Well, once you are in the South, in the imagination, you are just a — if you’ll forgive me — you are just a hayride away from rural America.
And so those two things, I think, are happening simultaneously with Donald Trump. Appealing to nostalgia will always have political power, especially when people are very anxious and afraid, which is what I would argue people are — for many, many reasons. And that’s why I think Donald Trump reads as rural to some people.
Although I’d pay money to see Donald Trump in actual rural America, for what it’s worth.
* * *
Keegin: You know, Donald Trump shows the seams. You see where the makeup ends on his face. It’s very clear that his hair is done by himself, and you see the grease in it. There’s a photo of him where you see that he holds his tie together with tape.
I think when we boil down what a rural aesthetic is, regardless of who is engaging with it, it is about the human hand and showing what humans create — versus the urban aesthetic, which is based in machines and in technology. We think about our urban centers: That is where we produce a lot of our culture, but they’re also the center of our governments and our financial centers.
All of the aesthetics that we associate with urban life come from those occupations, which are about the mind over the body. This is not where you are toiling and making things with the human hand and with your physical self. And that is the schism. When I look at Trump, I think: Yes, there are a lot of things about him that are very rural — because he’s not slick.
Then there's more in this podcast about the "Renaissance of country music" and what it suggests about this political moment, which I'll leave to you readers. Some of the illustration of what these
NYTimes folks label "rural"--especially matters related to cowboys and Taylor Sheridan's "Yellowstone"--seem to me more specifically about the imaginary associated with the "wild west" and with patriarchy. In the latter regard, I was reminded of Kristen Kobes Du Mez'
Jesus and John Wayne.