In honor of tonight’s dinner with two friends who actually really dig MEGAPOP (well, T at least), I’m doing another update before the weekend. It’s finally over 100 hours: I could program a JACK-FM station for a whole week at this point. We’re going in:
Aaliyah, AC/DC, Adina Howard, Air, Antony & the Johnsons, Aqua, Argent, Ariana Grande, the Babys, Becky G, The Biddu Orchestra, Big Mello, Black Sabbath, BLACKstreet, Burning Flames, Cave In, Chairmen of the Board, Chase & Status ft. Liam Bailey and Yolanda Quartey, C.O.B., Collective Soul, Dee Dee Ramone ft. Joey Ramone, Deftones, DMX, Doug E. Fresh ft. Slick Rick, Erasure, Fancy, Fox the Fox, the Gants, the Grateful Dead, Grizzly Bear, Harry J Allstars, Henry Thomas, H.O.T. (like a few of these cuts, it’s an MP3, and Spotify’s positive it’s actually “Candy Man” by Hot Tuna, not "Candy" by H.O.T., so let’s just hold off on that one for now), Howard Jones, the Intensions, Jacques Brel, Johnny Nash, Joy Division, Juelz Santana, Jumpin’ Gene Simmons, Juvenile, Katy B, Kira Isabella, Kirk Franklin, LaTour, Lee Dorsey, Ma$e ft. Puff Daddy, Mayer Hawthorne, Mazzy Star, the Mighty Mighty Bosstones, Monarchy, New Musik, Of Montreal, Ricki-Lee, RJD2, Roky Erickson, Rush, Sanford Clark, Sparklehorse, Tiësto ft. Matthew Koma, Tina Arena, Tove Lo, Trillville, the Verve, Whiskeytown, Wolf Parade, Yung Joc, Zoe Badwi.
Replacements for Utah Saints and the Velvet Underground: we’ll get this right eventually.
Next update will attempt to bring in more non-Anglophonic songs and more pre-Elvis stuff. It will also have a better Ramones song.
Y’all have a good weekend, and best of luck on your own insane projects.
This was supposed to go up Friday, but Pitchfork Festival intervened. It’s pretty long, so it’s behind a cut. It’s also a first draft; I welcome pushback on any of it, or suggestions for further research. It will likely be revised with that in mind, because it’s my blog and I can do that.
Many people believe the failure state of pop is B-list. They don’t usually say it, but it’s implied. They are wrong. If this was ever true, it’s certainly not true now. The pop economy works like the normal economy does: slicing away the middle class, middle management, the midlist authors, the middle-class clergy (I literally just saw that posted to Twitter while doing a final copy edit on this; examples are everywhere, and emerge so often) and the midlist pop stars. There is no narrative for sliced-away midlisters; regardless of how much you’ve accomplished in what span of time or what span of time awaits you, society and posterity will plop you down on one side of a binary: success or failure. It’s perverse, but the failure state of pop is obscurity.