Pop Culture

Prior to Spotify and Steve Bannon, the collective thinking on pop culture underwent a radical transformation. A new critical consensus demanded that we stop thinking about creativity in a hierarchical way: there was no "high" culture and "low" culture — just culture.

This ideology has become known as "poptimism," although I understand that most crit... See more

Late 20th century media was a universe of legible, cohesive objects—films, books, shows, albums, people—which audiences largely experienced as complete entities, not necessarily due to anyone’s preference but because this was the most practical way to read them. Today’s media is a tangle of streams, flows, and feeds that mingle promiscuously and of... See more

In just under one generation, we moved from appreciating albums as cohesive works to consuming individual tracks, and then to music becoming reduced to muzak: background noise for gaming, viral videos, or endless scrolling. Disappearing is music as an art in its own right, which commands sustained attention and deep engagement. A song’s success is ... See more

But this obviously contributed to a feeling of decline in the long-run, because mass culture continued to do the thing it always does: avoid artistic innovation in order to maximize profit. But once poptimism established that only the mainstream "mattered," it set up audiences to judge the health of culture on its least artistic output. If we have ... See more

The Internet was supposed to democratize everything, do away with gatekeepers and in some cases, craft. We were prepared for that: the masses overtaking the institutions.

But that’s not what happened. The gatekeepers and the craft both changed. And with it, so did ideas around authorship. It wasn’t a simple fight between independent creators and es... See more

we have moved from a culture dominated by entertainment, to one that is dominated by digitally mediated distraction, which in turn generates a culture of addiction, or, as Gioia memorably puts it, Dopamine Culture.

Last year Sinéad O’Sullivan had a great piece in The New Yorker arguing that no one bothers to argue that Taylor Swift’s songs are musically innovative. But since her music connects with so many people, it must be good, and therefore, critics are on a mission to find the innovation somewhere . For Kornhaber, Swift has been “pioneering a futuristic ... See more