I have a confession to make: I dream about shopping malls. Specifically, one shopping mall, the Oaks Mall here in Gainesville.
After my parents’ divorce, I saw my mother mostly on the weekends, and one of our routine activities was to go to the mall. We would have lunch, see a movie, and wander around. Later, when I got into my teens, I spent a lot more time at the mall with my friends. We hit all the usual spots—the arcade, both bookstores (Waldenbooks and B. Dalton’s), the record store, Spencer’s Gifts, the toy store. And we did anything else we felt like.
We weren’t alone, of course. After the collapse of downtown America, the mall was the last remaining public square. In suburban America, particularly, it was also the only fun thing to do on a Saturday afternoon. Or a Saturday night, for that matter. When I entered high school and started going on dates, we often went to a movie at the mall. One of my most vivid memories is of how strange and eerie the mall felt after the movie let out at 11:00 or so, and we would walk through the empty, dark hall with all the shops closed and metal gates drawn down. It was one of my first experiences of liminal space, and it sticks with me even today.
In fact, it haunts my dreams. Literally. For when I dream of the Oaks Mall now, I often find myself lost among its corridors near closing time, the wings still busy with shoppers but with the crowd starting to thin out, little by little. Stranger still, my dream-mall is huge—the size of Manhattan Island, practically. A gigantic labyrinth of brand-name stores, all of which are in the early stages of shutting down for the night. (My subconscious, I think, is warning me that the mall is shutting down forever.) These dreams often end in a sense of panic as I realize I am on the wrong side of the mall from my friends, or my car, or whatever, and I will never be able to reach them/it in time before…what? Closing? It’s not clear, but whatever it is, it’s kind of scary.
Despite the disquieting nature of these dreams—or perhaps because of it—I find myself endlessly fascinated by what has come to be known as the Vaporwave aesthetic. Vaporwave is primarily a visual genre, marked by artistic images of 1980s culture. That is, computer graphics, shopping malls, the Miami skyline (ala Miami Vice), fast food restaurants, music videos, video stores, and old-style video games.
And neon. Lots and lots of neon.
The overriding effect is that of a hyper-real fantasy that feels like a time-portal back to the 1980s. I love these images because they somehow evoke the memory of that long ago time, at least for me. More accurately, they evoke the feeling I wanted to have at the time but could never quite capture. The feeling of an endless, prosperous, fun, high-tech future.
I think that this is the real power of nostalgia. A wise man once defined nostalgia as a fondness for a Time that never existed. I don’t think that’s quite right. Nostalgia is a fondness not for a lost time but for a lost hope—the hope one felt and in a familiar place and a long-ago time. A hope that, though never realized, still lingers in the heart.
That sense of lost opportunity is, I think, reflected in the very name of the genre itself, vaporwave, which is very similar to vaporware, a term coined in the 1980s to mean great-looking software that was promised by advertisers and corporations but which never actually materialized. It simply evaporated.
The same thing happened to our collective dreams back in the 1980s. My friends and I all hoped that we could look forward to a glorious future, one better than that of our parents’ and teachers’ generation. A future that would be made bright by the many technological revolutions (the digital revolution, especially) that were impacting every aspect of our culture: movies, TV, music, art, games, fashion, and even books. The haunting images of vaporwave reflect that lost dream—rather than the sterile reality—of the 1980s and ’90s.
Many vaporwave images seem to have a psychedelic “collapsed time” feel to them, as did many of the music videos and computer-generated short films of that era. The hippie generation had the psychedelic flower as their symbol. We had the computer-generated sun—the so-called “broken sun”—which seems to have been pulled directly from of a film poster or a television commercial from 1982.
As attracted as I am to vaporwave, I am equally drawn to its parallel music genre, synthwave. Like vaporwave, synthwave is characterized by the early computer-era vibe, as symbolized in synthesized music. Not actual synthesized music from the 1980s, of course, but rather music that sounds a lot like it, yet is somehow drained of all melodrama and false tension that characterized synth-music back then. Synthwave has a kind of purity to it. A simple beauty that surpasses the actual music of that time.
In other words, synthwave is to actual 1980s music what Andy Warhol was to actual advertisements of the 1950s. His silk screen images of Campbell’s soup cans looked almost exactly like actual soup cans, but larger, stylized, more vivid. They made the world really see Campbell’s soup cans—the sublime nature of everything, even a mass-produced soup can—for the first time. Warhol’s genius lay in his ability to show us the beauty and promise of something that was once central and even commonplace in our lives, even as it mocked (lovingly) that very same thing.
That’s what vaporwave does, too. Through the alchemy of art, it somehow humanizes the relentless, corporate-controlled media barrage of the 1980s. For me, and millions of others like me, it is literally the stuff that dreams are made of.
Or were made of, that is. Back in the day.
