The gap between Americans raised before World War II and after was huge in a way that’s difficult to recall for those of us who came of age after the ’60s. Greatest Generation parents who might have grown up without on-demand indoor plumbing and survived the Depression and fighting in Europe, the Pacific, North Africa, and Korea came from a different planet than the one on which they raised their kids. To their credit, they bequeathed to the baby boomers a world that was still full of major problems but one that was much richer and full of opportunities. And to their credit, the boomers (of which I’m a very late example, having been born in 1963) readily went about using new opportunities and freedoms (expressive, sexual, educational, economic) to build the world they wanted to live in.
In the late ’60s and a good chunk of the ’70s, youth-oriented pop music was central to that project. Whatever you might think of the Beatles’ music, their very existence — and their constant self-recreations — made everything seem possible. They were far from alone as pop music maguses, too.
Simply by talking with major pop figures, Rolling Stone could be a vital and compelling magazine because it served as something like a boomer conversation pit. Over time, however, music stopped playing the same sort of vital role in generational conversations — don’t get me wrong, it’s still a part of it all. But as the mainstream in every area of life splintered and recombined into a million different subspecies, no single form of cultural expression matters so much to so many people anymore.
That’s a good thing for the culture and the country (and the planet, really), but Rolling Stone has been looking for a replacement core identity for decades now. The magazine that once published New Journalism masterpieces about David Cassidy and stardom, Patty Hearst’s rescuers, and “Charlie Simpson’s Apocalypse” had trouble figuring out how to deal with a world in which pop and movie stars were less interesting than ever (and more disciplined in terms of talking with the press) and in which men and women of good faith might actually disagree over complicated aesthetic and ideological matters. There has been a lot of good writing and reporting over the years, but there’s no question, I think, that the magazine is chasing trends and insights rather than creating them.
In a world in which pop culture — especially youth-oriented pop culture — allows a thousand flowers to bloom in a way that was unimaginable even 40 years ago, Rolling Stone can no longer get by simply by talking with Patti Smith or John Lennon or Bob Dylan for 25,000 words at a time. It might have reinvented itself as a clubhouse where people who love music or movies or whatever could get together to argue over politics, economics, and policy. That could indeed be interesting, especially in a world where large chunks of young Americans are going right, left, and especially libertarian. Just as there is no longer one dominant mode of music, there is no longer one dominant mode of politics.
But the people at the helm of Rolling Stone cannot seemingly even acknowledge that anyone who might disagree with them on, say, the effects of minimum wage laws on the poor, is worth a second thought. All they can do, out of a sense of liberal guilt, is publish radical calls to arm that they must know are ridiculous. Sadly, a magazine that was once required reading for anyone who wanted to know what the younger generation cared about is now a pedantic, insecure, and ultimately ineffective tool of Democratic Party groupthink.
Nick Gillespie, “Rolling Stone‘s Sad ‘5 Economic Reforms Millennials Should Be Fighting For'”, Hit and Run, 2014-01-04