20 years after the dawn of a new millennium, pop music could finally have exhausted its stately legacy of the 20th century. The fact that this takes so long in times considered as high-accelerated times is due to the same means and mechanisms that make us hope for the night’s sleep. With the extensive suppression of TV as we know it through YouTube, with the decline of the radio syndication by file sharing and streaming platforms, all pop culture had been ready for retrieval from the very beginning of its preservation possibilities. Like a treasure chest without ground.
Why, therefore, breed new ideas, where so much had to be done? Alleged microtrends like Vaporwave and Witch-House times outside left. Revivals have always existed: from “Grease” 1978 to “Hairspray” In 1988 the 50s re-blossomed in the 80s, a nostalgia act like Shakin ‘Stevens sold more singles as contemporary electropop artists like Depeche Mode or New Order.
Nirvana has already referred to their spiritual fathers from the 70s, the Sex Pistols, in the title of their most successful album. Shortly after that, Retro rock in the UK surpassed the exciting new impulses of Jungle, TripHop and Drum’n’Bass. Revivals are an integral part of pop, which always builds on itself. But what has characterized the pop music since 2001 was so far unprecedented: the exact copy was considered a probate method to achieve authenticity. It is (still) the era of vintage fashion and Manufactum interior. Jack White boasted of working with antique instruments. On the Kay Hollowbody guitar, for example, with which he recorded the reef off the decade on “Seven Nation Army,” he became aware of Howlin ‘Wolf she had played.
Sharon Jones got applause because she revived the soul of the middle 60s to 70s. Together with their backing band, The Dap-Kings, Amy Winehouse recorded one of the most successful albums of the decade. BACK TO BLACK sparked a soul comeback, which even shot a dysfunctional Dusty-Springfield clone like Duffy to the top of the charts. At the same time, The Darkness, as a Queen tribute band to the “nation’s leading rock combo” (now Roger Taylor’s son Rufus plays with them), Kings Of Leon marched to the stadium with classic Southern Rock, the-clash guitarist Mick Jones as producer Of the Libertines for the fortune of its kind. Much of this was excellent because one could very well and comprehensively inform, “like those at that time made so.”
YouTube as an interactive lexicon. If trends and brands were once more overhauled and ridiculed by new ones, they all now came back and left no place for new ones. In Hollywood, this is still the case, see “Jurassic Park / World,” “Kong,” “Jungle Book,” “Ninja Turtles,” “Ghostbusters” and again and again “Star Wars