Posts from 24th April 2015

Apr 15

Taxonomy Domine

FT15 comments • 2,730 views

Sisyphus was a rockist.

Sisyphus was a rockist.

This is a list – scribbled down over lunch, then expanded – of ways that writers who focus on pop music have approached it. I agree with some. I disagree with some. Some of them I’ve tried, some I’ve only read. A few have become fairly orthodox. Others are rare, or at least rare nowadays.

The list is not meant to be exhaustive, and expansion is welcomed. (I think there should probably be something on camp in here, for instance, but I don’t feel I know enough to write it.)

1. Why Is This Popular?: I start with this one, because it’s largely what I do on Popular, which serves as an example. I am interested in things that are popular. The idea is that there’s value in thinking why something becomes a hit – what people hear or see in it. Popular things aren’t inherently good, but they are inherently interesting. Often shades into sociology, not always very expertly.

2. Pop As Expression Of The People: There are a few strands of thinking that really do hold popularity to be at least potentially a good in itself. “Popular culture is folk culture” (a Robert Wyatt paraphrase) would be the tenet here – pop is good because it reflects and represents everyday concerns, lives, dreams… maybe even a kind of will of the people. This type of angle feels unfashionable now, too monocultural (though see #8 below.)

3. Pop As A Site Of Subversion: A type of thinking that semi-inverts #2 – pop music is interesting when things sneak in and slip through that don’t ‘belong’ and that have the potential to question or overturn social norms. Runs the risk of turning into a simple scorecard or being horribly narrow about what constitutes subversion: where have all the protest songs gone, etc.