April 27, 2019

"Sweet but Psycho" marks end of vulnerable phase of excitement cycle, next wave of disco during early 2020s (plus earlier historical examples of phase changes)

An interesting topic in studying the 15-year cultural excitement cycle, consisting of three five-year phases, is how some element of the final year of one phase prefigures the overall tone of the following phase. It's ahead of its time by a little bit, and stands out against the norm of its phase, but you can feel it heralding a new direction, which becomes even clearer in retrospect.

A recent post looked at the changes to dance music during the vulnerable phase of the cultural excitement cycle, where the upbeat and bouncy tunes of the previous manic phase give way to a more dissonant and spastic type.

Somehow that must transition into the following phase, the restless, warm-up phase, which is characterized by conscious dance crazes that are meant to get people's bodies back into the groove after slumbering for so long during the refractory state of the vulnerable phase.

There's always one song from the final year of the vulnerable phase that departs from the dissonant, spastic norm and points the way forward to a renewed atmosphere of restlessness, wanting the body to do warm-ups rather than sleep in bed any longer.

And since the refractory period is starting to wear off, dance music no longer has to go into rhythmic overdrive to over-compensate for the drained energy levels of the audience. Once their energy levels are back to baseline, during the warm-up phase, they don't need the over-the-top spastic rhythms to pick them up -- a simple, even minimal, catchy beat will suffice. With normal energy levels restored, they can dance more effortlessly, rather than having to force themselves into it rhythmically.

Still, these harbinger songs are not entirely free from their zeitgeist, and do tend to have passages of near silence, especially during the bridge, when the rhythm nearly grinds to a halt. That allows the audience to feel comfortably familiar with them, as most dance songs of the vulnerable phase have this off-and-on rhythm. But in these new songs, there's only one instance of this halted rhythm, rather than punctuating the entire song.

And there is somewhat of a downer or melancholy tinge to the emotional delivery, making it familiar to emo-accustomed audiences. But overall, the tone is brighter than the norm of its time. These new-direction songs all use the major key tonality, whereas the dissonant norm is to use the minor key.

On a side note, these musical changes are also happening at the same time as broader changes in the cultural zeitgeist, as the end of the vulnerable phase spells the end of sex-negative feminism, female victimhood, and related feelings of "all social contact is too painful to bear". See this post on how the phases of feminism track the phases of the excitement cycle. For now, the point is that the new-direction dance songs herald the end of an emo phase of feminism, as Me Too bottoms out on bottoming out.

To contrast the following examples of new-direction dance songs against their background, go through the post on dissonant dance songs, which has many examples from each vulnerable phase going back to the late '80s. These songs ascend the Billboard charts during the first half of the final year -- they are not borderline cases from the end of the final year, but are truly just-ahead of their time. They were all #1 Dance Club hits, for as long as that chart has existed, or were major hits (especially in dance clubs) before that chart began in 1975.

In the current vulnerable phase of the second half of the 2010s, the backdrop is the soft emo mainstream, and dance music in the mold of Clean Bandit. All of a sudden comes a dance hit that uses the major key and a simple beat that gets only a little more complex to build some tension before the chorus. The only halting moment is the bridge. The assertive and clingy lyrics are the opposite of the victimized and avoidant Me Too feeling.

Everyone compares it to early Lady Gaga, but those songs were way higher in energy and danceability. They were from the final year of the last restless warm-up phase, 2009, and were the pinnacle of the decadent disco climate of the late 2000s. They shade into the following manic phase (but that's the topic for another post about final years of the other two phases). This one is just getting the ball rolling again, and we won't hear another string of early Gaga-type dance hits until 2024. But this is clearly where dance music will be heading over the next five years (neo-neo-neo-disco).

"Sweet but Psycho" by Ava Max (2019):

During the last vulnerable phase of the early 2000s, the backdrop was the soft emo mainstream, and dance music in the mold of electroclash. Even Top 40 dance songs with a simpler rhythm, like "Toxic," had a severely dissonant minor key (especially the strings), and in retrospect they don't sound like what was to come in the late 2000s. The new-direction song here has a more subdued vocal than the others, but is otherwise similar: major key, stripped-down beat, lyrics about connecting with rather than mistrusting the opposite sex, and paving the way for the next five years (neo-neo-disco of the late 2000s).

"Slow" by Kylie Minogue (2004):

During the vulnerable phase of the late '80s, the backdrop was soft rock, emo power ballads, and dance music of the Hi-NRG and freestyle type. The next song broke with the minor key trend, kept the rhythm simple, used a minimal-yet-catchy hook during the chorus, and paved the way for the rap-inflected neo-disco of the early '90s warm-up phase (Technotronic, C&C Music Factory, Deee-Lite, etc.).

"Buffalo Stance" by Neneh Cherry (1989):

During the vulnerable phase of the early '70s, the backdrop was plaintive singer-songwriter ballads, and no real dance music to speak of. "Electronic rhythmic music" was prog rock. From out of nowhere, the first disco hit emerges with a major key, simple rhythm (the opposite of prog), cheerful lyrics about a couple sticking together, and paving the way for original disco. This is the only example without a moment of halted rhythm during the whole song.

"Rock the Boat" by the Hues Corporation (1974):

Finally, during the vulnerable phase of the late '50s, the backdrop was moody doo-wop and lovelorn teenager pop. Use the major key, keep the rhythm simple yet engaging, pepper it with some sexual vocalizations to signal you're no longer in a refractory state -- and you've got the birth of proto-disco, or soul music, which would really take off during the following dance-crazy warm-up phase of the early '60s.

"What'd I Say" by Ray Charles (1959):

April 18, 2019

Resilience songs help audiences spring back after vulnerable phase of cultural excitement cycle

As people transition from the vulnerable phase of the 15-year excitement cycle, when their energy levels have collapsed into a refractory state, and into the restless, warm-up phase, when those levels are restored to a baseline state, they need some motivation to pull themselves out of their emo funk and get back into the swing of things. Before they can transition into the next manic phase, they must first get over their sense that social stimulation is too painful to bear.

When pop culture responds to this transition of phases, it does not have to comment on it directly. Music simply becomes less emo, without drawing attention to that change on a meta-level. But there are a handful of songs that hit more directly on the themes of overcoming adversity, toughing out a painful situation until you feel better, and not letting antagonistic forces keep you down. They're not going to let you wallow any longer -- it's time to start feeling normal again.

Reinforcing these lyrical themes, the music itself is uplifting and moving, although not uniformly so, as it might be during the manic phase. It also has a melancholy passage or overall tinge to it, as a reminder of what a downer their recent emotional state has been. But it isn't uniformly moody either -- it tends to contrast a vulnerable verse with a more confident, even defiant chorus.

The following survey is from songs that made the year-end Billboard Hot 100 charts.

The first warm-up phase of the modern era, the first half of the 1960s, does not have too many explicit examples. Back then, almost all songs were strictly about dating, romance, marriage, etc. They did not comment on more general themes. Still, within this domain of romantic songs, there were some about looking forward to finally finding someone after a spell of loneliness ("Blue Moon" and "Where the Boys Are"), lovers persisting through a temporary separation ("Sealed with a Kiss"), and toughing out whatever adversity comes their way ("Stand by Me").

These songs counteract the emo tendencies of the late '50s.

"Blue Moon" has an interesting history, since its first recording was in the early '30s, then again in the late '40s, and the one we know best from the early '60s. These five-year periods are all 15 years apart, suggesting that they were in fact the same phase of the cycle.

At any rate, here is the exception from this period, a hit song that addressed the general theme of persisting through tough or painful situations, because somehow (here, by God) they'll get better. Pop songs were allowed to not be about romance, as long as they were narrative or allusions to history, religion, etc.

"Wings of a Dove" by Ferlin Husky (1961):

The next warm-up phase, during the late '70s, was counteracting the emo state of the early '70s. "Stayin' Alive" is not a relevant example here, since it's about getting through everyday obstacles, rather than transitioning from one enduring phase into another. "Good Times" is more to the point, emphasizing that emotional states are changing from the recent past.

"Bohemian Rhapsody" is probably the greatest example from the period, although the themes are addressed somewhat more indirectly than in Queen's other major entry in this genre. And sure enough, during the next warm-up phase of the early '90s, "Bohemian Rhapsody" was revived on the charts thanks to being included in the soundtrack for Wayne's World. If the late '70s had not matched the early '90s in its emotional state, these songs would not have resonated so powerfully. It was released again in 2018 for the movie of the same name, but it did not do well enough to land on the year-end Hot 100 at all (only on the rock chart), since general audiences today are in the vulnerable phase and want to wallow there, not be shaken out of it and act defiantly.

Here are the most direct examples from the late '70s.

"We Are the Champions" by Queen (1977):

"Ain't No Stoppin' Us Now" by McFadden & Whitehead (1979):

During the next warm-up phase of the early '90s, they had listened to one too many soft rock and power ballad songs from the emo late '80s. "Something to Believe In" by Poison dwells a little too heavily on the downer side of things, but it is still looking for a way to be pulled up out of that state. "Tears in Heaven" is also a real downer, but rather than wallow, it emphasizes needing to be strong enough to get through a terrible event.

Of the entire Billboard history, the song that most directly tackles these themes is "Hold On," which I can easily see coming back into style in the next few years, now that Me Too is winding down and women will want to hear music that grabs them by the shoulders and tells them to just snap out of it already. "Under the Bridge" is the most personal and intimate of those surveyed here. A lot of wild, heavy shit had happened during the outgoing, rising-crime period of the early '60s through the early '90s, and there was a lot to reflect on from one's own life, not just historical or literary figures.

"Hold On" by Wilson Phillips (1990):

"Under the Bridge" by Red Hot Chili Peppers (1991):

The most recent warm-up phase was the late 2000s, counteracting the emo phase of the early 2000s. Perhaps the most annoying song ever written, and shockingly the #1 song for the entire year of 2006, is "Bad Day" by Daniel Powter. There's a throwaway line about singing a sad song "just to turn it around," but overall the tone is wallowing in how crappy your day has been, not springing back from it. And anyway, how would singing a sad song turn it around -- shouldn't you be trying to sing something more uplifting? Just another aspect of how terrible that song is. As it turns out, though, it was written and recorded in the emo early 2000s, and its hit status in 2006 was part of the continuation of the emo mood into the late 2000s.

Remember, during the warm-up phase, there's a mix of the two sentiments, a downer and an upper, since energy levels are just at a normal baseline. They can be low-energy or high-energy, but not uniformly one or the other, as in a refractory collapse or manic spike.

The three major examples are all from artists who had contributed to the mellow, emo mood of the early 2000s, and their songs from the late 2000s represent the broader shift in themes and tone. After moping about absent boyfriends, Avril Lavigne released a more uplifting "Keep Holding on".

The John Mayer song followed the winding down of the various political moral panics from the first half of the 2000s, and shows that these songs don't have to be about definitively having reached a better state yet, but at least trusting that they will improve sooner rather than later, and no longer dwelling constantly on how screwed up the world is.

I expect that to find a new life in the early 2020s, after the Republican likely wins again in 2020. Just like how the activism of the early 2000s died off in the later half, all this bullshit about "Trump = Nazi / Putin," "This Is Not Normal," etc. is going to melt away. Not for political reasons of things improving -- the GOP won again in 2004, and likely will in 2020 -- but for emotional reasons. You can only stay in the vulnerable emo phase for around five years, and this is the last of those years for the current phase.

The My Chemical Romance song could not be more of a shift from their earlier downer material, which like the rest of early 2000s emo, was mopey or impotently aggro. The mood in this one is more uplifting, confident, and determined to persist. If "Under the Bridge" was the "Bohemian Rhapsody" of the early '90s, in the late 2000s it was "Welcome to the Black Parade". I expect one of the current downer bands to shift tone in the same way during the early 2020s, but have no idea who it will be -- just as no one predicted such a major change coming from the most stereotypically emo band of the early 2000s.

"Waiting on the World to Change" by John Mayer (2006):

"Welcome to the Black Parade" by My Chemical Romance (2006):

April 11, 2019

All emo'd out: MeToo winds down, setting up anything-goes revival for 2020

A recent spate of attacks on Joe Biden for being a handsy creeper has failed to derail his presidential bid even slightly. Lest you think that's only due to his Establishment credentials, earlier in the year when Bernie announced his bid, they tried these attacks against him as well, referring to the work climate of his campaign in 2016 -- but they accomplished nothing, and are already forgotten.

No doubt these attacks will continue throughout the year, showing that there's still a bit more life left in the #MeToo movement, but not much. Contrast with the figures large and small, Establishment and otherwise, who were taken down over the last several years -- Trump (pussygate), Hollywood mega-mogul Harvey Weinstein, SNL alum and senator Al Franken, "Civil Rights icon" Congressman John Conyers, and so on and so forth. On the Right, Bill O'Reilly got canned, while Tucker has survived the 2019 attacks.

The stalling out of MeToo reflects the ending of the vulnerable phase of the 15-year cultural excitement cycle, as people are pretty close to getting back to baseline energy levels, after suffering in the refractory period since 2015. Each of the phases lasts 5 years, so we're on the last one for this phase.

In an earlier post, I detailed the history of feminism over the course of multiple excitement cycles, showing how the concerns and attitudes regularly repeat during each of the phases. During the manic, invincible phase, feminism is exhibitionistic, sex-positive, and agency-granting toward women. When excitement levels collapse during the vulnerable phase, feminism focuses on victimhood, feels like all sexuality is rape-y, and denies women agency. Finally when their levels restore to baseline during the restless, warm-up phase, they're in between -- done with victimhood, but not yet so exhibitionistic, more like coming out of their shell, getting flirty and feisty, and getting to know the opposite sex all over again.

During the Kavanaugh hearings, I noted how the Slutwalk-era feminists were ignoring the MeToo hysteria over the supposed rapist-nominee, since the "you go girl" feminists of the early 2010s wanted no part of a narrative about how powerless women were, how they need rescuing from the big scary men, and the overall tone of sex as dangerous rather than liberating. But during that height of MeToo, they were in the distinct minority, a shrinking holdover from the ever-receding world of Slutwalk and the No Pants Subway Ride.

The Kavanaugh hearings were so over-the-top hysterical, that they forced people's vulnerable feelings to hit rock bottom. After that, they can only drift upwards toward a normal baseline, and we're in the process of that already.

We've seen similar rock-bottom moments for other moral panics of this vulnerable period, which seems to give rise to them in all sorts of domains, not just dating-and-mating. The peaks of moral panics striking during the vulnerable phase of the cycle is a topic for another more detailed historical post, though.

The whole Alt-Right / white supremacy / everyone's a Nazi panic began during the 2015-16 election season, and hit rock bottom with the media hoax against the Covington high school kids. Whining about everyone and everything being racist is only going to get more tiresome during the remainder of this year, and although that may not keep some from beating a dead horse in 2020, it will not result in the hysterical panics that we've had to suffer through since 2015.

Then there was the whole "Russia's working to undo America" hysteria, and that hit rock bottom when the Mueller report's findings were announced. More accurately, it "is hitting" rock bottom, since it'll take some time for the "full report" to come out, etc etc etc., but it's basically done. Again, some fools may run with it in 2020, but it will not resonate like it has since 2016.

As people stop feeling so vulnerable -- so sensitive to external stimulation that everyone else is somehow victimizing them just by existing -- they won't be so susceptible to these hysterical panics anymore, or at least for the next 10 years (two phases of the cycle, until the next vulnerable phase hits around 2030).

In the meantime, we can look forward to a new restless warm-up phase beginning around next year. The last time we were in that phase was 2005-09, after the early 2000s vulnerable phase of Law & Order: SVU, emo music, the Catholic Church sex abuse scandal, 9/11, the Valerie Plame affair, and "everyone who voted for Bushitler is a Nazi".

In contrast to the first half of the 2000s, the second half was way more do-whatever, anything goes, hold nothing sacred or taboo, experiment, play around, and don't give a fuck. Raunchy anarchic Family Guy humor came into the mainstream after being an obscure cult hit during the early 2000s, the Game / Pickup Artist phenomenon showed that people didn't feel sex was icky or dangerous, American Apparel ads, pop music got more flirtatious instead of distancing, young people began packing dance clubs as a neo-disco atmosphere took over, and the Left stopped taking itself so seriously and moralistically, as shown by the viral hit site Stuff White People Like (which ended, fittingly enough, in 2010, as the manic phase replaced the warm-up phase).

It may not feel like it right now, but before you know it, there will be no more "Girls Like You" and "Happier" songs on the radio, but flippant and decadent indie hits just like the last time around:

April 4, 2019

Brooklyn transplants have crappier furniture than flyovers, and greater inequality

To understand the material motivations behind much of the contemporary liberal and leftist agendas, let's take a look at a disparity between a coastal metropolis and one from flyover country, in a simple yet revealing domain of material culture -- furniture.

Some furniture is of higher quality than other furniture, and we can measure the average level of quality among a group of people, as well as the variance or inequality among them. A good society will produce a high average and a low level of inequality, while a bad society will produce a low average and a high level of inequality.

I first got the impression of how bad life is in liberal / leftist hives like Brooklyn from listening to the Red Scare podcast, which unlike others of the socialist-y type, provides honest commentary on daily life in Brooklyn, where all of these people live. Everyone else either hypes up or humblebrags about how awesome it is, or at worst keeps quiet about it. The ladies from Red Scare are about the only ones who paint a warts-and-all picture of the place, like their refrain that guys in Brooklyn can't keep it up.

One aspect they've commented on several times, that really jumped out at me, was how little stuff they have, and hinting at how crappy what they do have is. They were not complaining about lacking a shitload of pointless junk, they were saying how much of the necessities they did not have, and how unsuitable what did have was. Furniture, kitchen appliances and utensils, (quality) clothing, and so on. They may have expensive internet-related devices, but that is only a portal into the virtual world, while back in the material world they live amidst sparse piles of cheap crud.

"Why don't they just buy decent stuff from a Goodwill?" I thought. Here in flyover country, you can walk into any thrift store and find hardwood furniture, Corning Ware cooking dishes, and 100% wool coats in winter (one of their complaints during the cold snap earlier this year). Then it occurred to me that they must not have such a great selection where they live.

On a hunch, I browsed the furniture section of the Brooklyn Craigslist, and it was indeed littered with crappy trendoid stuff -- made from fiberboard, poorly constructed in a slave labor colony (or you assemble it yourself), but given a bland minimal-modern styling to distract from how crappy it is materially, and allow you to rationalize paying so much for so little.

To find a good comparison in flyover country, I looked for cities that had all four of the recurring brands from the Brooklyn Craigslist. Otherwise, their greater numbers in Brooklyn may simply reflect their greater local availability, compared to a city without a physical store nearby. Chicago matched, but I decided to go with the only other Midwestern / Rust Belt city that matched -- Minneapolis. It is held in greater contempt by the coastal elites, and it lies in a state that more-or-less voted for Trump in 2016 (he was only held off by a 3rd-party conservative spoiler, McMullin).

I searched the "furniture" section in "for sale," exploring several related themes: brands that are overpriced yuppie crap, brands that are made to higher quality, materials that are of higher quality, and construction techniques that indicate higher quality.

Here are the number of listings for each of the search terms, where all are out of a total of 3000 listings. The search was done on the night of April 3, and these will fluctuate somewhat, but the differences are stark enough.

Search term Brooklyn Minneapolis

IKEA 698 577
West Elm 275 116
CB2 195 79
Design Within Reach 150 18

Ethan Allen 61 167
Drexel 55 83
Thomasville 6 93
Henredon 17 64

Solid wood 328 1047
Leather 383 1170
Brass 208 281
Wool 86 161
Copper 12 39

Dovetail(ed) 73 160
Carved 82 158
Stained glass 4 25
Quarter()sawn 4 28

All of the crappy yuppie brands are more common in Brooklyn than Minneapolis. IKEA makes up nearly one-fourth of all listings in Brooklyn!

If anything, this comparison understates the difference because Minneapolis is way more IKEA-friendly than other Rust Belt cities that have had an IKEA nearby for 10 years or more (enough time for their stuff to find its way into the second-hand market). Cincinnati has only 152 listings, and Detroit has only 177. Perhaps this is due to the high concentration of Scandinavians in Minneapolis, showing ethnic pride for a Swedish company (misplaced pride, since the actual manufacturing is done in slave labor colonies).

Is this just a greater fixation on brands in Brooklyn, regardless of what kind of stuff they make? No: they have fewer listings for brands that are made in a first-world country, using hardwood instead of fiberboard, assembled by trained workers rather than your own dumb ass, and owned as staples of the golden age of the middle class, before it was hollowed out by neoliberalism.

This does not reflect young trendoids living in Brooklyn, and traditional old farts living in Minneapolis. The median age in Brooklyn is actually slightly older -- 33 vs. 32 for Minneapolis. Young people in the Midwest just have greater immunity to becoming fashion victims -- and those who do succumb are likely to transplant themselves to poser magnets like Brooklyn anyway. (Felix, Matt, and Amber: move back here.)

Aside from specific brands, how about materials that are superior to others? You might not know (or care) who made it, but you can still tell what it's made of. Solid wood, leather, wool, copper and its alloy brass are all much more common in Minneapolis. The cheap yuppie crap that predominates in Brooklyn is more likely to be made of fiberboard, "vegan leather" / synthetic ultra-"suede," synthetic rug fibers, and stainless steel.

As for the techniques used to turn these raw materials into usable parts and whole items, some are more labor-intensive, require greater skill, look more attractive, and make the item more stable and resistant to wear-and-tear. These skilled techniques are all more common in the furniture of Minneapolis.

We can tell the lack of skilled techniques is not just due to the minimalist styling of striver Brooklynite furniture, because dovetailed joints are not visible from the outside and are not florid ornaments even when the drawers are open. Quarter-sawing the lumber happens before any rough shaping, joinery, carving, or other styling takes place, and is totally compatible with minimal styling (as in the Arts & Crafts and Mission styles that heavily used it). The rudimentary nature of the construction of trendoid crap is just another symptom of its poorly made quality.

So, furniture in Minneapolis is higher-quality, on average. What about the inequality? We've already seen that there's a lot more low-quality stuff in Brooklyn than in Minneapolis, but is there also more really high-quality stuff? This is harder to measure, because at the very top, the sample size is expected to be small (and it is). But my overall impression from browsing both sites is that the most desirable stuff is more common in Brooklyn -- although still rare there. As just one example, "Heywood Wakefield" has 11 listings in Minneapolis, but nearly twice as many in Brooklyn (19). Further investigation could look into Old World antiques and the like.

Brooklyn is both more top-heavy and bottom-heavy than Minneapolis, with less of a stable middle. This means a bit more upward mobility but far more downward mobility, constant precariousness, and status anxiety.

And this is not only a reflection of the inequality in wealth or income, which is greater in Brooklyn. If it were, the low end of Brooklyn would have the same kind of stuff that the low end of Minneapolis did -- there would just be more people in that low end in Brooklyn.

But it gets worse than that, since Brooklyn is also more subject to never-ending waves of transplants, turning it into a rootless striver colony, whereas Minneapolis has a greater social and cultural rootedness. Sure, it attracts newcomers from elsewhere in the state, or perhaps from the Midwest, but not from all over -- and they tend to stay put once they get there.

That's why Brooklyn not only suffers from a surfeit of cheap crap -- it's cheap crap that was only made within the past 10-20 years, since that's the deepest that anyone's roots go there. With greater rootedness in Midwestern cities, it's common to find stuff from far earlier, which was better made. And that generalizes to all of material culture (housewares, clothing, tools, cars, etc.).

Rootlessness is another aspect of status-striving, which also produces inequality. When more and more people are competing to be at the top, it not only produces greater inequality, as high-risk / high-reward means some win big but most lose big. It also attracts more and more outsiders to join in the competition where all the action is, leading to rootlessness.

Anyone who had Ethan Allen furniture in Brooklyn -- a holdover from the egalitarian Midcentury -- got gentrified out of the area by neoliberal striver transplants years ago. Today, each wave of transplants only has crappy IKEA stuff to pass on to the next wave.

So, if it seems like the would-be vanguard of the political party realignment are desperate, deprived, and rootless -- it's because they are. They cannot be allowed to be in the driver's seat, as the end of the Reagan era gives way to a new era where the Democrats are the dominant party.

As proven in 2016, the coastal elites need the large population states in the Rust Belt in order to win, and these folks are more normal than their counterparts on the coasts. Most importantly, they are more opposed to turning all of life into a hyper-competitive status contest, which produces a few more big winners but a lot more big losers. As more people warm up to the label of "socialism," the Midwesterners will have to insist on that resulting in egalitarianism a la the New Deal, rather than just providing a soft landing for the downwardly mobile super-strivers on the coasts.

Nobody made them move to Brooklyn, and they deserve no special padded landing when they fail to make it into the big leagues there. All they deserve is moving back to wherever they actually come from, where they'll enjoy a higher standard-of-living on average, and with less inequality among their community. Then we can work on collective action and solidarity. But first, we have to eradicate the impulse toward status-striving, which is individualist and antithetical to solidarity.

Pointing out how much better their material lives will be back in their home towns, delivered in a disarming ironic tone, could be the first step toward winding down the status-striving arms race.

On a policy level, if we ever get something like universal basic income or a raise in the minimum wage, it should absolutely not take into account the local cost-of-living -- these over-priced, over-populated coastal shitholes need to be depopulated, and see their excess population redistributed back to less-competitive and less-populous places. Just as there is no right for foreigners to live in America, there is no right for co-national outsiders to live within a city as transplants. Egalitarianism requires less mobility and churning, not more.