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On our Forensics journey back from Berea, Kentucky, a compilation disc triggered a conversation. As everyone struck up the chorus “867-5309,” the curious Ann Lawson begged the question, “Why is it that you know and like the songs I grew up with in high school?” Speculation ensued regarding this cyclical twenty-year phenomenon.

The observation was made that in the 1970’s, the most popular TV shows were “Happy Days” and “Lavern and Shirley,” both set in the 1950’s. Then again in the late 90’s, “That 70’s Show” emerged. Interest in this show, we believe, was founded in the adults’ desire to reminisce. Curiously enough, when TV producers attempted to re-create the success of “That 70’s Show” with “That 80’s Show,” it flopped. Perhaps not enough time had elapsed to create the nostalgic buffer.

The high ratings of these shows cannot come solely from reminiscing adults, so they must appeal to a wider demographic. The shows are never targeted towards people in the forties, but to the younger generation. So what would motivate younger audiences to buy into nostalgic references that they did not experience?

Returning to the music that started the conversation, we both realized that we were exposed to the favorite songs of our parents. We were constantly bombarded by nostalgic references – each song was accompanied by stories of prom, warm summer evenings, first loves, and childhood memories. Therefore, when these shows emerge, we begin to relive the stories that our parents told us, creating familiarity and a similar reminiscent experience.

Upon further investigation of this issue, the subject of recursivity beckoned. Cycles are formed through the rebirth of shared interests. Identified in this cycle are the key ideas that are the foundations of recursivity. TV producers’ ability to apply innovation to the conventional desire to recapture the “good old days” satiates the apparent need for nostalgia.

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Co-written by Alyssa Pearson and Phill Demarest.