cover of episode Decoder Ring: Selling Out (Encore)

Decoder Ring: Selling Out (Encore)

2024/11/4
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People
A
Alice McGee
B
Bethany Klein
B
Boris Kachka
F
Franz Nicolay
H
Helen Childress
L
Laura Miller
W
Wesley Morris
W
Willa Paskin
Topics
Helen Childress: 《迷恋荷尔蒙》这部电影反映了X世代对“被收买”的抵制,这在当时是一种重要的价值观。电影中的主角Lelaina通过拍摄纪录片来记录她的朋友们的生活,试图捕捉现实的片段。电影的核心主题之一就是“被收买”,即为了金钱或商业利益而背叛自己的原则、艺术、社区或自我。这种价值观在X世代中非常普遍,他们不愿意与公司利益结合,也不愿意将自己喜欢的东西商业化。即使是商业电影,Helen也不愿过度推销,觉得那样很尴尬。她甚至拒绝了上奥普拉脱口秀的机会,因为不想过度商业化她的电影。

Deep Dive

Key Insights

Why was the concept of 'selling out' particularly significant for Generation X?

For Generation X, selling out was a defining principle that involved betraying one's principles, art, or community for financial or commercial gain. It was seen as a betrayal of authenticity and integrity, especially in the context of rebelling against the commercialization and corporate culture that their baby boomer predecessors had embraced.

What was the Oprah-Franzen Book Club Dust-Up of 2001 and why was it significant?

The Oprah-Franzen Book Club Dust-Up of 2001 occurred when Oprah Winfrey invited Jonathan Franzen to discuss his novel 'The Corrections' on her show, only to withdraw the invitation after Franzen expressed ambivalence about the selection. This incident highlighted a clash between two ways of thinking about selling out: Franzen's concern about maintaining artistic integrity and Oprah's refusal to compromise her values for ratings. It marked a turning point where the old idea of selling out began to lose its cultural relevance.

How did Oprah's Book Club impact the publishing industry?

Oprah's Book Club, launched in 1996, became a cultural phenomenon that significantly boosted book sales. Selected books often became bestsellers, with some titles selling more copies after being chosen than they had during their initial release. The club also introduced a wider audience to literature, particularly novels by or about women, and helped shift the perception of daytime TV from being seen as lowbrow to a platform for meaningful cultural engagement.

What were Jonathan Franzen's concerns about being selected for Oprah's Book Club?

Jonathan Franzen was concerned that being selected for Oprah's Book Club would compromise his artistic integrity and alienate his core literary audience. He worried that the association with Oprah, a daytime TV personality, would signal that his book was aimed at a female audience, potentially driving away male readers. Franzen also felt uncomfortable with the commercial aspects of the promotion, fearing it would dilute the authenticity of his work.

How did the concept of 'selling out' evolve in the 2000s?

In the 2000s, the concept of 'selling out' lost much of its cultural potency as artists increasingly embraced commercial opportunities to sustain their careers. The rise of digital platforms and the decline in traditional revenue streams like album sales made it harder for artists to maintain financial independence without commercializing their work. By the 2010s, the idea of selling out had become largely antiquated, with many people viewing it as a necessary part of modern life rather than a betrayal of principles.

What role did the Oprah-Franzen incident play in the decline of the 'selling out' concept?

The Oprah-Franzen incident highlighted the shifting attitudes toward 'selling out.' Franzen's ambivalence about being associated with Oprah's Book Club was seen as elitist and out of touch, while Oprah's refusal to compromise her values for ratings resonated more with contemporary audiences. The incident underscored how the old idea of selling out had become associated with gatekeeping and snobbery, leading to its decline as a culturally significant concept.

Shownotes Transcript

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea’s last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.

The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.

Some of the voices you’ll hear in this episode include screenwriter Helen Childress); writer and musician Franz Nicolay); New York Times critic Wesley Morris), Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America’s Most Celebrated Publishing House, Farrar, Straus, and Giroux); Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music); and Laura Miller), Slate’s book critic.

This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.

Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.

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