The Null Device
An Alphabet of Arguments
Tom Ewing's Poptimist
column in Pitchfork has an A to Z of discourse in music criticism
, which illuminates the current state of flux in the production and consumption of music quite tellingly:
E is for Excess: Not the rock'n'roll lifestyle, alas, but the sense we live in a time of musical glut-- reissues of old LPs now stretched across three CDs, legal download dumps of hundreds of tracks, even musicians getting in on the act (Wiley just gave 11 CD-Rs worth of tunes away). What's interesting to me isn't the decadence so much as how social listening strategies are evolving to cope-- the task of processing all this stuff is devolved to fans as a group, a sharp break from the single artwork meets single pair of ears model we've been used to for so long.
N is for Novelty: Novelty records-- gimmick dances, comedy songs, et al.-- regularly turn up in "worst song ever"-type polls. Their decline should have been a canary in the record industry coalmine, though: A track like "Macarena" got big by appealing to people who didn't usually buy records, which made them an index of the extent to which buying a record was seen as a normal thing to do. The market for novelties hasn't gone away, of course-- it simply relocated to YouTube.
P is for Pleasure: The "no such thing as a guilty pleasure" line ends up at a kind of naturism of pop, where the happiest state of being is to display one's tastes unaltered to the world. But the barriers to naturism aren't just shame and poor body image, it's also that clothes are awesome and look great. Performing taste-- played-up guilt and all-- is as delightful and meaningful as dressing well and makes the world a more colorful place. (This still isn't the full story, though-- see V for Virtue).
Y is for Year Zero: Grunge killed hair metal. Acid house changed everything. Punk saw off progressive rock. These dividing-line stories are always attractive, always useful for a while-- and then always revised. The grandfather of them all, though, has proved harder to shift-- the idea that something happened in the early-to-mid-fifties to mark a change of era and fix a boundary of relevance. The next 10 or 20 years, as the 60s slip deeper into unlived collective memory, will be crucial and fascinating (for historians, anyway!).
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