Culture

"The Hype Cycle"

I referenced this n+1 article about the "hype cycle" in the previous post, but it's worth, well, hyping. Mocking the odious New York magazine-style approval matrices, the author compares the fluctuating social capital of cultural goods to asset bubbles, lamenting that media hype "transforms the use value of a would-be work of art into its exchange value." In other words, we don't judge art by its underlying fundamentals; instead we trade on their momentum. I'm skeptical that those things can be separated. The degree that pop culture is enjoyed privately isn't going to be expressed in the public sphere, where opinions become hype because they become part of one's identity posturing. The private enjoyment can simply be experienced; the direct pleasure of listening to a song need not be mediated to be felt. What does need mediation is the pleasure of being culturally relevant, being part of the zeitgeist or ahead of it.

So how we "use" culture depends a great deal on how we regard it contextually. Without context, there isn't much there to consume -- it's not as though the intrinsic qualities are so deep and sophisticated. That private pleasure goes only so far, and if we were after that private pleasure alone, we'd consume something other than the culture that's mainly relevant because it is contemporary. Rather, with pop culture, we are consuming context in object form; we are choosing to engage our times through an artifact, be part of the cultural conversation. This may be why most people don't mind hype and, in fact, respond positively to it. Hype gives us a reason to consume, an opportunity to get something beyond the things' intrinsic qualities. We can passively consume things that were once required activity: participation, a sense of belonging to something larger, a sense of being excited. Hype sucks primarily when you have a lot of free time to discover things to be excited about on your own -- a luxury for most people who are not pop-culture connoisseurs. For everyone else, the vicarious excitement of hype is welcome -- an efficient solution for not having enough leisure (or imagination) to become excited from scratch, entirely on our own.

The main use value of popular culture -- what makes it popular -- is its ability to signal one's personality in the public sphere. (The n+1 article limits what one might signal through culture to the reputation of connoisseurship, but most people don't seem to care about that. They want to belong, not be singled out as snobs.) What gives popular culture that capacity is its widespread distribution and its malleable substance, and often it's made with that kind of negative capability in mind. It is intentionally indeterminate, or in other words, "shallow." Hype, then, does reinforce the generic, insubstantial qualities of pop culture by expanding the base that can relate to it, creating network effects and magnifying the feelings of participation it conveys and communicating potential it has. A feedback loop is created: the shallower culture is, the more useful it is to us in the ways hype amplifies, and more hype proliferates and highlights cultural superficiality. This cycle tends to abrogate pop culture for those who want to experience it as connoisseurs (the brunt of the n+1 complaint). Hype makes us (happily, for many of us) have to consume culture as zeitgeist; it ceases to be an occasion to express our refined tastes. Instead, it liberates us from having to worry about tastes at all.

Of course, there is still public discussion of culture that is not hype, but it happens on a parallel track, only among parties that have established their bona fides with one another. Often, that means talking to oneself.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image