As I read Saul Austerlitz's extended hysterical diatribe against "poptimism," I almost thought I was reading a parody. After all, who wants to bring back discourses of authenticity/quality/"good music" that privilege white dudes who make mediocre music above women and people of color, who dominate pop music's landscape?
I could use this blog space to argue why Austerlitz is wrong musically. There are many things that pop music offers that traditional rock does not: crisp production styles; hybridization of genres; timbres that extend the concept of what music is; skilled session players; and songwriters who hail audiences that, yes, include the 13 year olds whom Austerlitz uses to dismiss current pop critics. I could point out that in the canon of poptimism, there are a hell of a lot of examples of good music, whether it's Chic's live-instrument take on disco, grounded in Nile Rodger's guitars and Bernard Edwards's bass lines; or 1980s synth-pop's use of interlocking melodies, made all the more impressive when one takes into consideration the limits of the technology producing them; or, hell, Michael Jackson's Thriller, which indeed won the Pazz and Jop poll. Or I could point out that the Beyoncé album that Austerlitz uses as his entrée to the topic contains complicated, extended song forms, employs a variety of songwriters, and finally puts Beyoncé's amazing vocal range to good use. Or I could point out that Beyoncé and Justin Timberlake both employ fantastic live bands and pump up the arrangements with skillful playing. Or I could just shout the name "JANELLE MONAE" five hundred times, because there's a woman who writes pop songs and isn't afraid of jazz harmonies, sounding like Michael Jackson, or mixing genres in a giant blender.