LONDON — Down in the mall, between the fast-food joint and the bagel shop, a group of young people huddles in a flurry of baggy combat pants, skateboards and slang. They size up a woman teetering past wearing DKNY, carrying Time magazine in one hand and Analysis a latte in the other. She brushes past a guy in a Yankees baseball cap who is talking on his Motorola cellphone about the Martin Scorsese film he saw last night.
It's a standard American scene — only this isn't America, it's Britain. U.S. culture is so pervasive, the scene could be played out in any one of dozens of cities. Budapest or Berlin, if not Bogotá or Bordeaux. Even Manila or Moscow.
As the unrivaled global superpower, America exports its culture on an unprecedented scale. From music to media, film to fast food, language to literature and sport, the American idea is spreading inexorably, not unlike the influence of empires that preceded it.
The difference is that today's technology flings culture to every corner of the globe with blinding speed. If it took two millenniums for Plato's "Republic" to reach North America, the latest hit from Justin Timberlake can be found in Greek (and Japanese) stores within days. Sometimes, U.S. ideals get transmitted — such as individual rights, freedom of speech, and respect for women — and local cultures are enriched. At other times, materialism or worse becomes the message and local traditions get crushed.
"The U.S. has become the most powerful, significant world force in terms of cultural imperialism and expansion," says Ian Ralston, American studies director at Liverpool John Moores University. "The areas that particularly spring to mind are Hollywood, popular music and even literature."
But what some call "McDomination" has created a backlash in certain cultures. And it's not clear whether fast food, Disney, or rock 'n' roll will change the world the way Homer or Shakespeare has.
Stick a pin in a map and there you'll find an example of U.S. influence.
Hollywood rules the global movie market, with up to 90 percent of audiences in some European countries. Even in Africa, two of three films shown are American.
Few countries have yet to be touched by McDonald's and Coca-Cola. Starbucks recently opened up a new front in South America, and everyone has a Hard Rock Cafe T-shirt from somewhere exotic.
West Indian sports enthusiasts increasingly watch basketball, not cricket. Baseball has long since taken root in Asia and Cuba. And Chinese young people are becoming more captivated by American football and basketball, some even daubing the names of NBA stars on their school sweatsuits. The NFL plans to roll out a Chinese version of its Web site this month.
Rupert Murdoch's satellites, with their heavy traffic of U.S. audiovisual content, saturate the Asian subcontinent. American English is the language of choice for would-be pop stars in Europe, software programmers in India and Internet surfers everywhere.
America's preeminence is hardly surprising. Superpowers have throughout the ages sought to perpetuate their way of life: from the philosophy and mythology of the ancient Greeks to the law and language of the Romans; from the art and architecture of the Tang Dynasty and Renaissance Italy to the sports and systems of government of the British.
Industry, politics, technology
Detractors of cultural imperialism argue, however, that cultural domination poses a monolithic threat to diversity. In the American case, "McDomination" poses several dangers.
First, local industries are truly at risk of extinction because of U.S. oligopolies, such as Hollywood. For instance, in 2000, the European Union handed out 1 billion euros to subsidize Europe's film industry. Even the relatively successful British movie industry has no control over distribution, which is almost entirely in the hands of the Hollywood majors.
Second, political cultures are being transformed by the personality-driven American model in countries as far-reaching as Japan and the Philippines.
Finally, U.S. domination of technologies such as the Internet and satellite TV means that, increasingly, America monopolizes the view people get of the world. According to a recent report for the U.N. Conference on Trade and Development, 13 of the top 14 Internet firms are American. No. 14 is British.
"You have to know English if you want to use the Internet," says Andre Kaspi, a professor at the Sorbonne in Paris.
A main problem is that culture is no longer a protected species, but subject to the inexorable drive for free trade, says Joost Smiers, a political-science professor at the Utrecht School of the Arts. This means it is increasingly difficult for countries to protect their own industries. France tries to do so with subsidies, while South Korea has tried quotas. Such "protectionist" tactics meet with considerable U.S. muscle, Smiers says.
"America's aggressive cultural policy ... hinders national states from regulating their own cultural markets," he says. "We should take culture out of the WTO."
Another danger, detractors say, is the consolidation of the communications industry into a few conglomerates such as Time Warner, Disney and News Corporation, which means that the "infotainment" generated for global consumption nearly always comes from an Anglophone perspective.
"You can't go on with just three music companies organizing and distributing 85 percent of the music in the world," says Smiers. "It's against all principles of democracy. Every emotion, every feeling, every image can be copyrighted into the hands of a few owners."
A backlash is being felt in certain places.
In Japan, locals have taken U.S. ideas like hip-hop and fast food and given them a Japanese twist, says Dominic al-Badri, editor of Kansai Time Out.
In Germany, there is still strong resistance to aspects of U.S. pop culture, though there is an appetite for its intellectual culture, says Gary Smith, director of the American Academy in Berlin.
In France, resistance is growing partly because of frustrations over the Iraq war — but partly because Americanization is already so advanced in the country, says Kaspi.
He notes one interesting anecdotal sign of U.S. influence — and the futility of resistance. France has repeatedly tried to mandate the use of French language in official capacities to check the advance of English. "But most of the time, the law is impossible to apply, because if you want to be understood around the world, you have to speak English," Kaspi says.
In the Philippines, even the best U.S. ideals have caused complications.
"The pervasive American influence has saddled us with two legacies," notes commentator Antonio C. Abaya. "American-style elections, which require the commitment of massive financial resources, which have to be recouped and rolled over many times, which is the main source of corruption in government; and American-style free press in which media feel free to attack and criticize everything that the government does or says, which adds to disunity and loss of confidence in government."
Meanwhile, for all the strength of the U.S. movie industry, sometimes a foreign film resonates more with a local audience than a Hollywood production — and outperforms it. For instance, Japan's "Spirited Away" (2001) remains the top-grossing film in that country, surpassing global Hollywood hits like "Titanic." In addition, British TV has influenced and served up competition to U.S. shows, spawning such hits as "Who Wants to Be a Millionaire," "The Weakest Link" and "American Idol."
Give and take
So how much good does American culture bring to the world? And how long will it last? Ian Ralston cautions against sweeping dismissals of U.S. pop culture.
British television may be saturated with American sitcoms and movies, but while some are poor, others are quite good, he says. "British culture has always been enriched by foreign influences. In some ways American culture and media have added to that enrichment."
Others note that it is not all one-way traffic. America may feast largely on a diet of homegrown culture, but it imports modestly as well: soccer, international cuisine, Italian fashion and, increasingly, British television.
As to the question of durability, some experts believe U.S. domination of communication channels makes it inevitable that its messages will become far more entrenched than those of previous empires.
"The main difference now in favor of American culture is the importance of technology — telephone, Internet, films, all that did not exist in ancient Greece or the Mongol empire," Kaspi says. "American influence is growing, it's so easy to get access to U.S. culture; there are no barriers.
"Disney is known worldwide now," he adds. "Plato is more and more unknown, even in Greece."
But not everyone thinks American culture will stand the test of time.
"It remains to be seen whether the Monkees ... are as durable as Plato," says Robert Young, an expert in postcolonial cultural theory at Oxford University, with a dab of irony. "Let's have another look in 4,000 years' time."