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Short List – Arief
by Arief Fauzy| Bucharest, Romania
Sunday, 9 February 2014
tags: culture, emergence, europe, making sense
POP MUSIC GONE POSTMODERN
Read about the contemporary popular music industry, or begin such a discussion with just about anyone who’s been paying attention, and chances are the following three topics prominently feature: Miley Cyrus’ public image transformation from clean-cut Disney creation to bares it all uber-twerker, the fallout following crooner Robin Thicke’s summer smash ‘Blurred Lines’ that has seen it banned by more than 20 student unions in the UK among other controversies, and just about anything that Lady Gaga has been up to lately. What will be noticeable about these conversations is that each of the aforementioned are held up to represent the over-the-line excesses of mainstream pop music, eliciting some sense of moral outrage through performances heavy with cultural appropriation, sexual politics and unabashed explicit vulgarity. Meanwhile, some passing acknowledgement of their actual music will be met with, bar the professional critic’s work, varying degrees of nonchalance; a feeling most are likely to take towards the industry as a whole.
© 2013 Kevin Mazur/Wireimage
A developing point from these examples is that the ensuing reactions can be traced to a branding template of sorts, widely adopted by fellow pop artists, one that sees elements of subversion and provocation performed in individual or body of works. On the one hand, blatant performances guided by appropriating such ideas should not really come as a surprise when much of society now gets their music from a competitive and ephemeral online environment, particularly when considering that views on an artist’s Youtube video count toward their music billboard rankings. It only makes sense for an artist’s image to intrigue by raising the proverbial eyebrow, at least from both an economic and attention-grabbing standpoint.
Moreover, while provocative music augmented by subversive and countercultural imagery has been prominent of late, it is not a recent development. Just think of Christina Aguilera’s ‘Dirrty’ (2002), Rihanna’s ‘S&M’ (2011), Gwen Stefani’s 2005 flirtation with the Japanese Harajuku image, and Adam Lambert’s performance of simulated oral sex at the 2009 American Music Awards, to name a few.
On the other hand, however, such formulaic branding inclinations and attempts to translate seemingly countercultural performances into mainstream cultural mores suggest a wider phenomenon at work, one steeped in the cultural discourse of media development. It is also something that has been somewhat shrouded in quiet abandon in terms of being a resultant commentary point. The one that I refer to would be that of the postmodernist stance toward the mass media. A view outlines an apparent saturation of popular culture commodities over the public sphere that results in cultural products being structured and realized around the simulation aspect of signs and appropriation of images, according to a concept of ‘hyperreality’ first posited by Jean Baudrillard.
To demonstrate how this might be so, I will explain through the example of Lady Gaga – to be regarded from here as a cultural product – to illustrate just how this postmodernist view is reflected within the current pop music scene. Gaga has navigated her career with a well-fashioned understanding of effective brand communication that not only draws upon postmodernist cues, but also reflects the transformation of the cultural milieu in which it operates.
© Interscope Records
Her personal brand can be seen as having been carefully crafted to uniquely differentiate herself as a musician and enable her to achieve great commercial and critical success. Brand Gaga has become a distinct cultural product insofar that her music and image have reached a height of success and popularity that even her fans have been assigned the moniker ‘Little Monsters’. A following examination of the cultural cues that Gaga has leveraged for her branding success is enlightening as her persona and artistry is heavily informed by Baudrillard’s view of the consequences of a media-saturated society, where entertainment & communications technologies provide experiences more intense and involving than the banality of everyday life experiences through the simulation aspect of signs and images within mass media.
© Getty Images
Such logic is apparent in Gaga the cultural product. By her insistence, she is first and foremost a ‘performance artist’ and imagery is crucial. Undoubtedly, Gaga is notorious for her outlandish public appearances. She embodies a ‘designer ideology’ where style predominates almost at the expense of substance and meaning. For example, her every public appearance in a bizarre-looking outfit makes her a consumed item, from which numerous mainstream media stories are produced. Even her corpus of work reflects this tendency, particularly her early works when she first blazed onto the pop music scene. She focuses upon themes of fame, materialism, narcissism and sex. For example, her first single, ‘Just Dance’, appears to concern with no more than the idea of hedonistic excess while another, ‘Poker Face’, explores the idea of engendering a misleading perception in social interactions.
Lady Gaga further exhibits this postmodern ‘hyperreality’ notion by facilitating a display of ‘radical implosions’. The postmodern perspective dictates the concept as autonomous realms like culture, economics, art and politics collapsing into each other and erasing previously defined boundaries. Similarly, Gaga seems to break the boundaries between image, spectacle and everyday life. Her emphasis on style, combined with her professional persona, leads to a difficulty in maintaining a meaningful distinction between art and popular culture.
It is interesting to note, however, that Lady Gaga’s overall brand communication not only suggests the evolution of wider popular culture toward a hedonism & superficiality created by designer ideology and upon which current pop music finds itself positioned, but simultaneously is crafted as social commentary to warn against this development. This is, importantly, where her counterculture performance template digresses from her contemporaries. She straddles the fine line between commentary and self-participation by creating a narrative so hyperbolic the aim of eliciting debate and introspection that, upon further inspection, none of the other current artists seem to similarly suggest in their performance of counterculture.
© Arief Fauzy 2014