PM Pick

The tropic of Sir Galahad

The Wall Street Journal's pop culture coverage always strikes me as pretty random. Yesterday the paper had an article by Ethan Smith about the soft-rock band America, who are in danger of suddenly becoming cool after years of rock cognoscenti ridicule for seeming to epitomize 1970s FM radio singer-songwriter mediocrity. (What's next? The Seals and Crofts revival?) The band name is generic and awful; it's hard to trust a band that thought calling themselves America was a good idea and without that trust it's hard to let yourself be entertained. Their hits -- "Horse with No Name," "Sister Golden Hair," "Tin Man," "Ventura Highway" -- were ubiquitous, almost taken for granted, songs I knew intimately without ever once having chosen to hear them, my familiarity bred from hearing it during rides in friends' parents cars, or in the orthodontist's waiting room, or as bumper music for TV shows, that sort of thing. Actually, one of the first songs I learned to play on guitar was "Horse with No Name" (Em and some weird D chord). I always regarded them as a second-rate Bread (not a second rate CSNY, as Smith suggests was the put-down), but basically harmless and clearly preferable to James Taylor, Don McLean or the Eagles, mainly because their lyrics had only a casual relationship to planet Earth. In general, America has bubbled along through the decades as an inescapable part of the pop culture wallpaper, popping out from the background now and then in mainstream places (Janet Jackson's sampling "Ventura Highway") and indie (the Loud Family naming its first album "Plants and Birds and Rocks and Things" after a line in "Horse with No Name." Lately, having exhausted the novelty of the neglected Bread catalog (On the Waters is a great album, and so is Baby I'm-a Want You -- seriously) I've been appreciating America's hits, for their mellowness and familiarity. They seem to have no image; I don't know a single person who can even name one member of this perfectly anonymous band. I just read the article in the paper, and I couldn't remember any of them without looking again.

Now, apparently one of the guys from Fountains of Wayne has decided to try to rehabilitate America the way Rick Rubin tried to do for Neil Diamond last year, the way Joe Henry has for Solomon Burke. The Fountains of Wayne guy recruited members of My Morning Jacket, Ryan Adams, Ben Kweller and James Iha from Smashing Pumpkins to help America make a new album. Having looked through many a thrift store album bin in my time, I can't help but feel there is already too much of America out there. But now we'll have more, a double disc, no less. This would seem like a fortunate turn of fate for America, but there are risks to becoming cool. Being adopted by those whose business it is to cycle through culture -- make it cool, use it up, make it forgotten -- has a tendency to backfire.

But even if America does become cool again -- or for the first time -- the group may want to retain some of its ways from the decades it spent as workmanlike players on the nostalgia circuit.

"We're mulling the concept of doing some kind of hip club tour," Mr. Bunnell [that's one of the America guys] says. But "frankly, we have to weigh economics. You can't just find the hot club and go in there and play for 200 people" since that wouldn't yield enough revenue to meet expenses. America's typical appearances in recent years have drawn 500 to 2,000 people at larger venues.

Being cool has a way of taking a backseat to more practical concerns, Mr. Bunnell notes, "when you're in your 50s and you've got mortgages and record sales aren't what they used to be."

If America has the misfortune of alienating the heartland fans by becoming a recognized symbol of encroaching hipsterism, they stand to lose a steady gig. But I suppose they could be hoping for a bigger pay off than touring or record sales -- getting their songs in a commercial, something they seem to feel is long overdue:

Mr. Bunnell says he's always been puzzled by the sparse interest among advertisers in using his band's hits in commercials. "I always thought 'Sister Golden Hair' would be a Clairol ad," he says. "And maybe 'Ventura Highway' would be a car ad."
Poor America; they had sold out from the get-go, but never got to take full advantage and they yearn for even less credibility then they have ever earned, in a way, back when indie cred meant not caving in to commercialism. But credibility and commercialism have a different relationship now; indie bands make their name by being adopted by a commercial. Music supervisors for TV ads are today's A&R men. America has come full circle; they now hope to sneak back through crass commercialism's back door by seeming obscure and hipster enough to be discovered for kitschy use in an ad looking for snippets of melody that are catchy and distinctive. Unfortunately, America's songs have long been too recognizable; they probably seemed overfamiliar and generic the moment they were written. So America's trapped in a tricky spot -- they can be appreciated in an ironic fashion by hipsters, which may cost them their mainstream nostalgia circuit fans without gaining them a lucrative return to the spotlight, because vanilla blandness and their continual ubiquity means their retro appeal can't be made ironic enough.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

This week on our games podcast, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

This week, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

Keep reading... Show less

Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

Keep reading... Show less
8

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less
3
Pop Ten
Mixed Media
PM Picks

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

rating-image