You know Avril Lavigne is punk because her corporate-produced t-shirt says so much
I'm resisting my kneejerk reaction to lambaste the New York Times arts page as a whole. After all, one must keep in mind the Frank Rich's outstanding column began on the arts page before getting relocated to the op-ed page where he greatly outshines the middling-at-best columnists who also populate that section of the newspaper.
But this idiotic piece from a so-called "music critic" about Hilary Duff and the supposed "love affair between punk and pop."
Evidently Duff is now collaborating with her boyfriend, some guy from the atrocious band Good Charlotte, to make pop music that, according to critic Kelefa Sanneh, has "punk" elements.
And here's the best part: the music they're making is really good.
Throughout the 1990's, the default genre for young pop stars was R&B; most of the time, teen-pop - for example, Britney Spears or 'N Sync - was merely R&B by another name. Then came the astronomical rise of Avril Lavigne, alongside kid-friendly punk bands like Blink-182, and it soon became clear that teen-punk made a sneaky kind of sense. Kids loved the hint of rebellion, parents loved the lack of sex. And as punk bands got more squeaky-clean (a trend that peaked, perhaps, with the cheerful, violin-enhanced band Yellowcard), pop stars like Ashlee Simpson got more brazen about creating their own, radically defanged form of punk.
I don't even know where to begin dissecting this excerpt, or the article as a whole. Suffice it to say that this critic (and Duff, Avril "I don't know how to pronounce David Bowie's name" Lavigne, etc.) wouldn't know punk if it jumped out of the mosh pit at a Fugazi show at CBGB's and stabbed them in the eye with a safety pin.
The whole notion of "squeaky-clean" and defanged punk isn't even oxymoronic; it's the sort of nonsensical fallacy that could only be spewed by someone with a dilettantish knowledge of punk.
But then, what would you expect from a "critic" who suggests that Hilary Duff should be taken seriously as a musician, or at all?
But this idiotic piece from a so-called "music critic" about Hilary Duff and the supposed "love affair between punk and pop."
Evidently Duff is now collaborating with her boyfriend, some guy from the atrocious band Good Charlotte, to make pop music that, according to critic Kelefa Sanneh, has "punk" elements.
And here's the best part: the music they're making is really good.
Throughout the 1990's, the default genre for young pop stars was R&B; most of the time, teen-pop - for example, Britney Spears or 'N Sync - was merely R&B by another name. Then came the astronomical rise of Avril Lavigne, alongside kid-friendly punk bands like Blink-182, and it soon became clear that teen-punk made a sneaky kind of sense. Kids loved the hint of rebellion, parents loved the lack of sex. And as punk bands got more squeaky-clean (a trend that peaked, perhaps, with the cheerful, violin-enhanced band Yellowcard), pop stars like Ashlee Simpson got more brazen about creating their own, radically defanged form of punk.
I don't even know where to begin dissecting this excerpt, or the article as a whole. Suffice it to say that this critic (and Duff, Avril "I don't know how to pronounce David Bowie's name" Lavigne, etc.) wouldn't know punk if it jumped out of the mosh pit at a Fugazi show at CBGB's and stabbed them in the eye with a safety pin.
The whole notion of "squeaky-clean" and defanged punk isn't even oxymoronic; it's the sort of nonsensical fallacy that could only be spewed by someone with a dilettantish knowledge of punk.
But then, what would you expect from a "critic" who suggests that Hilary Duff should be taken seriously as a musician, or at all?
posted by Alexander Dubcek | 12:04
1 Comments:
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