The View from 1976

From New York magazine, August 23, 1976:

... The saga of the Me Decade begins with one of those facts that is so big and so obvious (like the Big Dipper), no one ever comments on it anymore. Namely: the 30-year boom. Wartime spending in the United States in the 1940s touched off a boom that has continued for more than 30 years. It has pumped money into every class level of the population on a scale without parallel in any country in history. True, nothing has solved the plight of those at the very bottom, the chronically unemployed of the slums. Nevertheless, in Compton, California, today it is possible for a family at the very lowest class level, which is known in America today as “on welfare,” to draw an income of $8,000 a year entirely from public sources. This is more than most British newspaper columnists and Italian factory foremen make, even allowing for differences in living costs. In America truck drivers, mechanics, factory workers, policemen, firemen, and garbagemen make so much money—$15,000 to $20,000 (or more) per year is not uncommon—that the word proletarian can no longer be used in this country with a straight face. So one now says lower middle class. One can’t even call workingmen blue collar any longer. They all have on collars like Joe Namath’s or Johnny Bench’s or Walt Frazier’s. They all have on $35 Superstar Qiana sport shirts with elephant collars and 1940s Airbrush Wallpaper Flowers Buncha Grapes and Seashell designs all over them. 

Well, my God, the old utopian socialists of the nineteenth century—such as Saint-Simon, Owen, Fourier, and Marx—lived for the day of the liberated workingman. They foresaw a day when industrialism (Saint-Simon coined the word) would give the common man the things he needed in order to realize his potential as a human being: surplus (discretionary) income, political freedom, free time (leisure), and freedom from grinding drudgery. Some of them, notably Owen and Fourier, thought all this might come to pass first in the United States. So they set up communes here: Owen’s New Harmony commune in Indiana and 34 Fourier-style “phalanx” settlements—socialist communes, because the new freedom was supposed to be possible only under socialism. The old boys never dreamed that the new freedom would come to pass instead as the result of a Go-Getter Bourgeois business boom such as began in the United States in the 1940s. 

Nor would they have liked it if they had seen it. For one thing, the homo novus, the new man, the liberated man, the first common man in the history of the world with the much-dreamed-of combination of money, free time, and personal freedom—this American workingman didn’t look right. The Joe Namath-Johnny Bench—Walt Frazier-Superstar Qiana Wallpaper sport shirt, for a start. 

He didn’t look right, and he wouldn’t . . . do right! I can remember what brave plans visionary architects at Yale and Harvard still had for the common man in the early 1950s. (They actually used the term “common man.”) They had brought the utopian socialist dream forward into the twentieth century. They had things figured out for the workingman down to truly minute details such as lamp switches. The new liberated workingman would live as the Cultivated Ascetic. He would be modeled on the B.A.-degree Greenwich Village bohemian of the late 1940s—dark wool Hudson Bay shirts, tweed jackets, flannel trousers, briarwood pipes, good books, sandals and simplicity—except that he would live in a Worker Housing project. All Yale and Harvard architects worshiped Bauhaus principles and had the Bauhaus vision of Worker Housing. The Bauhaus movement absolutely hypnotized American architects, once its leaders, such as Walter Gropius and Ludwig Miës van der Rohe, came to the United States from Germany in the 1930s. Worker Housing in America would have pure beige rooms, stripped, freed, purged of all moldings, cornices, and overhangs—which Gropius regarded as symbolic “crowns” and therefore loathsome. Worker Housing would be liberated from all wallpaper, “drapes,” Wilton rugs with flowers on them, lamps with fringed shades and bases that looked like vases or Greek columns. It would be cleansed of all doilies, knickknacks, mantelpieces, headboards, and radiator covers. Radiator coils would be left bare as honest, abstract sculptural objects.

But somehow the workers, incurable slobs that they were, avoided Worker Housing, better known as “the projects,” as if it had a smell. They were heading out instead to the suburbs—the suburbs!—to places like Islip, Long Island, and the San Fernando Valley of Los Angeles—and buying houses with clapboard siding and a high-pitched roof and shingles and gaslight-style front-porch lamps and mailboxes set up on top of lengths of stiffened chain that seemed to defy gravity and all sorts of other unbelievably cute or antiquey touches, and they loaded these houses up with “drapes” such as baffled all description and wall-to-wall carpet you could lose a shoe in, and they put barbecue pits and fish ponds with concrete cherubs urinating into them on the lawn out back, and they parked 25-foot-long cars out front and Evinrude cruisers up on tow trailers in the carport just beyond the breezeway.*
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* Ignored or else held in contempt by working people, Bauhaus design eventually triumphed as a symbol of wealth and privilege, attuned chiefly to the tastes of businessmen’s wives. For example, Miës’s most famous piece of furniture design, the Barcelona chair, now sells for $1,680 [currently $6,906] and is available only through one’s decorator. The high price is due in no small part to the chair’s Worker Housing Honest Materials: stainless steel and leather. No chromed iron is allowed, and customers are refused if they want to have the chair upholstered in material of their own choice. 

Only leather is allowed, and only six shades of that: Seagram’s Building Lobby Palomino, Monsanto Company Lobby Antelope, Architectural Digest Pecan, Transamerica Building Ebony, Bank of America Building Walnut, and Embarcadero Center Mink.