“Rolling Stone used to be such an important publication, documenting the important music and social climate of our times. When I put it that way, I guess I can’t fault them for the vapid music they now fawn over with all the exuberance of a virgin fan girl who has never left the confines of her bedroom. Case in point, their recent coverage of the latest Taylor Swift album. Instead of giving it a serious critical look, and lamenting the sad state of pop music today that this overproduced piece of silliness would be considered art, they kept comparing it with classic rock artists and crediting Swift with references that I’m sure she’s barely familiar with. At one point, they talked about a song called “London Boy” and attributed her talents to giving a knowing wink at Madness and Squeeze, and believed that the cliche lyrics in the song were done on purpose. Quite a stretch, when the more plausible reason is that she probably did her best, and these were the lyrics she came up with. I can’t conclude this review without mentioning that every time they do a show about stupid bubble gum pop, they parade out a colleague named Brittany something or other, who has a voice that somehow manages to have both that grating millennial rasp with a heavy dose of valley girl thrown in for good measure. Her insights don’t make listening to her any easier. Like when she described a Taylor Swift song to Weezer’s “Say it Ain’t So,” it reminded me of that one person everyone knows who pretends to have a deep knowledge of music, but really happened to hear one song while riding around with her older brother or uncle. I guess I’m in mourning for a time when popular culture had a backbone, but it is what it is, and Rolling Stone Music Now is happy to reflect that instead of exploring new and exciting music that is happening just below the glossy surface.”
sherrypop via Apple Podcasts ·
United States of America ·
09/29/19