Freddie deBoer has a few things to say about “poptimism” (whatever the heck that might be):
this piece is by a literature professor btw
I mean, honestly, what are we doing here? Where does this go? When does the madness end? What degree of all-swallowing society-wide celebration of pop music might be considered sufficient, for pop fans? How much more slavish devotion can Taylor Swift engender before they stop calling her an underdog? What is the endgame? What level of delusion is yet to be achieved, in the space of pretending that pop music is somehow marginalized or disrespected? This is, I’m told, “pop girl summer“, and it is genuinely difficult to find new music that gets any burn that isn’t some 18 to 28 year old photogenic woman, autotuning over shlocky overproduced midtempo backing tracks complete with beats stolen from mid-2010s EDM and muddy indistinct synth lines that all sound exactly the same. (Jack Antonoff should be put to death for his crimes.) My friends: you get all the streams, you get all the good reviews, you get all the Grammys, you get all the magazine covers. There exist almost no mainstream publications that regularly cover any music other than the kind you like. If anyone uses words like “authenticity” in music criticism, they will be sent to the gulag; if anyone suggests that musicians who write their own songs possess some sort of intimate connection to them, that person receives the digital equivalent of being pressed to death like Giles Corey. What more adulation do you want for your stars? What additional level of respect is there for them to secure? What do you want?
NPR says “This summer’s music charts are dominated by pop girl underdogs”. Underdogs cannot dominate! Definitionally! If they are dominating, they are not underdogs! This is the modern hell of crybullying, the person who tells you that you’re oppressing them while they’re busy mashing your face into the asphalt.
And, of course, it’s mostly all a negotiation with aging. As one of the oldest Millennials, I’m watching as my generation reaches middle age and reacts to that transition, and I can give you an initial verdict on how it’s going: not well, at all. We’re mostly adjusting to it by not adjusting to it. So, so many Millennials are confronting the end of their youth by performatively embracing youth culture, loudly declaring that the only music that matters is that which you discover on TikTok. They need everyone to know that they’ve spent the cost of a new Toyota on tickets to the Eras Tour. (Which soaks up seats that might otherwise be available to actual young people, not wine moms with too much money, but nevertheless.) They might like music. But in a much deeper way, they need it. They need what they think it represents.
Of course, this is all made a little bleaker by the fact that elder Millennials were once defined as the “hipster” generation, Williamsburg residents swilling PBR at backyard parties where they listened to the latest indie darling. In other words, they — we — have gone from being ostentatiously countercultural to ostentatiously mainstream, in the span of twenty years, which makes it hard not to conclude that they — we — never actually had aesthetic tastes at all and have instead lived like little reeds in the wind, terrified of ever appearing to not be The Right Kind of Person, which can only ever be defined through our capitalist consumption, since we think that all we are is our capitalist consumption.
Let’s just compare Brahm Stoker to Mary Shelly. “Dracula” will genuinely scare the pants off ya’. “Frankenstein?” well… The old movie was better.
Taylor Swift?
eh.
JWM
Comment by jwm — July 25, 2024 @ 11:15
I really enjoyed Stoker’s book, although it was quite different from my childhood expectations which were based on 60s pop culture references to vampires in general and Dracula in particular. I read Shelley a few years later and it was not at all what I expected either. I’ll probably re-read Stoker, but I find no interest in revisiting Shelley.
Comment by Nicholas — July 25, 2024 @ 11:18