Drawing the plumbing diagram of how taste, aesthetics, or "class", or opinion, or some paradigm gets promulgated, by whom, and how it is altered--all that--would be ridiculously complicated. It's like trying to diagram the flow of energy in a forest, accounting for everything from the energy transformations of bacteria, fluid flows, activity of plants, insects, animals, the sun, wind, etc. It all gets out of hand pretty quickly.
Take the font of the New Yorker or the New York Times. People who specialize in typography think that fonts are critical. They probably are. "The New York Times" rendered in Bradley Hand would be just stupid. See?
And the New York Times's font is just one small piece of the ecology of taste making. The New Yorkers's columns, covers, font, glossy paper, cartoons, advertising format, the weight of the magazine -- all that plus the actual content -- go into it. (I haven't explained anything -- I just listed a few elements in the ecology.)
Speaking of beer: You chose to get pale ale. I grew up in the midwest; there never used to be ale around here. It was beer, beer, beer. I encountered it in the late 1960s in Boston -- Ballantine Ale, I think it was. There was no ale around here in the 1970s, either -- as far as I can remember. It appeared in the 1980s and 90s. Now you can't walk into a liquor store without tripping over stacks of all kinds of ale.
Something -- someone -- some force altered the ecology of brewing and consumption. Christ; the Lutheran church across the street has a brewing club (it's a drinking church) -- they make ale and darker beers. Lighter, darker, stronger, weaker, hoppier, etc. Here's an e-mail message from yesterday:
Boy it has been a crazy whirlwind of a summer for all of us. Our Schwarzbier is now in the keg finishing up fermentation and will be final kegged/pressurized in a week or two.
This Sunday 6/26/16, Marcus and I will be brewing a small extract kit so that we have something for people who may not prefer a dark beer at Pastor Voight's going away party. Speaking of, that will be our next big event! We'll be serving the two brews at the going-away party in August...
Paul Fussell wrote an amusing book,
Class (1992). Among other things, he notes that the higher one's class, the darker one's wooden floors. The Newly Arrived want floors that look new, fresh. So the house is full of shiny bright maple floors. Up the class scale, closer to the top, dark floors are preferred. They might have been shiny bright maple floors once upon a time, maybe back in great grandmother's day, but now they are dark. Old dirt darkens the floors, gives it a patina. New Persian rugs are out of order on these old dark floors: one wants an old Persian rug, a bit worse for wear, but still very Persian. One doesn't want any mid-century modern furniture or Danish Design in most of the upper class rooms, either. Old furniture, leather; comfortable, broken in. Dark.
Then there is us working class who cover the ugly sub flooring with foam rubber and monotone plastic fiber carpet. Stain resistant, easily cleaned, holds up pretty well --20 years, maybe longer. 360 shades of beige. (Or bright shag, god forbid, for total white trash.)
Like I said, aesthetics are as complicated as natural ecology.