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 Beyoncé 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.
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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.”
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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.
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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.
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.
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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.
