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Clickbait Title: How Todd in the Shadows killed Pop Music.

Non-Clickbait title: How the change in the social preconceptions of Pop music as a genre resulted in Pop Music making itself irrelevant.

For around a year now critics of American Pop Music have been lamenting the near complete overtaking of Pop music as the predominant music of choice by Hiphop. It's an unique time to be a fan of Chart Music. If you go on the Billboard Hot 100, the literal definition of what is popular in the USA at any one time you'll find a list that is primarily Rap music, not Pop. The top 20 at the time of writing currently has 13 rap songs amongst its ranks, and it doesn't peter off as you scroll down through the 70's and 80's. It gets worse if you're slightly sharper on your definition of Pop because pure Pop music only has at best 3 songs in the top 20. Hiphop is seeing a dominance of mainstream culture right now and has managed to almost entirely remove Pop music from the cultural zeitgeist and many critics want to know why. Why is Pop music no longer Pop music.

This could be the legit hot 100 or the Hiphop hot 100 and there’d be no difference.

I will quickly acknowledge the unfortunate duality of the term 'pop music'. It functions both as shorthand for music that is popular, regardless of genre or origin; and as an explicit label for the genre of pop music. Much the same way that indie can both mean independent, and the genre of indie. This is unhelpful bit of lexical crossover that's contributing to the general frustration so I'll spell the leading question out explicitly: why is capital-P Pop music no longer pop(ular) music.

There are many small factors that contribute to this such as the changes in the way music is consumed; Hiphop as a genre has been a lot quicker to adapt its method of distribution to the age of streaming than Pop being the big one that most people point to as the root cause, but I think there's a much more substantial change to the way the general media approaches Pop as a genre that has split it's audience down the middle. Essentially dividing and conquering.

I would put the main issue being with the form of Pop music criticism that began to spring up around 2010. The wave of Poptimism that I'm referring to technically began as far back as 2004 with the rabbit hole of Rockism and the philosophical rejection of the idea that disposable is an inherent negative but it picked up the majority of it's momentum around the time the Club Boom began to reach its third act (think: when Ke$ha became a thing). It's hard to ascertain exactly why it happened but the consequences of this change aren't hard to see, with the most tangibly visible effect being the sudden rise of Todd In The Shadows. While I wouldn't call him directly responsible for this shift - Todd moving from a novelty who applied the standard YouTube-Media-Criticism to Chart Music up to one of the largest influencers of the post-TWGTG style ('post-' being used in the same context as 'post-'modern) was largely driven by the sudden proliferation of Poptimism, and he in general serves as good synecdoche for much of the change in attitude that occurred around the time. So while this shift has nothing literally to do with Todd and his content, he's a good symbol of it, on top of him being a large feature of the surface-level of the change. For ease of reference from this point I'm going to refer to this new attitude as Toddian.

After Toddian-Poptimism rose there was a new critical eye being applied to Chart music and it felt like the charts had entered a golden age - unparalleled since the 80's. Pop music from Adele, Jason DeRulo, Carly Rae Jepsen, fun., Meghan Trainor, Taylor Swift, Justin Timberlake and many more managed to be in a position where they were both massively commercially successful and given the respect (and occasionally even acclaim) they deserved from critics for being well constructed, enjoyable music that had impact on people. In spite of the assumption that you're old enough to get in to a Club, the Club Boom was seen as a very immature time for music and you could read this Toddian era as being representative of a maturation of Pop Music, and the world responded. Serious, snobby, oldschool music critics weren't afraid anymore to include a Taylor Swift song on their year-end lists when none would've been caught dead doing the same with Flo Rida. And a whole Youtube subgenre of Chart critics grew in the garden Todd had planted. The musical artists of this time were respected for being good Pop Music, not respected for being good in spite of being Pop music: this era spelled the death of the Guilty Pleasure.

So, Question: why did it all stop? The Answer: the devil is in the details of what this new wave of Poptimism was actually doing to Chart Music. If you look at the general trend of what Toddian criticism liked and disliked there's one running theme that even at the time I was skeptical of and has since proven destructive to their own intended goal: Retro.

Remember the time we let a 30 year regression become nearly the most popular song of all time?

The overwhelming trend with Toddian criticism is heaping a majority of the praise on genre-throwbacks and a reporting with a general air of unease newer genres that lack history. Synthpop, R&B, Funk, and Indie-Rock are regular appearances on 'Best songs of X year' lists. House, EDM, and Traprap are regular appearances on the opposite. In retrospect looking at these lists the general impression is not that Toddian criticism exist in order to promote Pop music as a place where legitimate artistic statements can be made and forward movement is being made, but rather to quash any potential movements away from the genres that the vague umbrella of nostalgia is comfortable with. Bar the odd breakthrough from Hiphop, Singer-Songwriter and memeworthy dance songs the charts of this era and especially the hit songs that were regarded as worthwhile can near universally be pinned to a specific retro era they were appealing to. Right across from 60's doo-wop to 90's synth-funk and every possible step inbetween, the critical process turned into "They seem to be going for a [decade]-era [artist] vibe on this new track" with lists ranking them on how much that critic enjoys each of the eras relative to one another.

Even within the context of individual artists careers you can see this. Justin Timberlake in 2014 releases 'Can't Stop the Feeling!', a piece of retro summertime-funk and it becomes one of the most well regarded pieces of popular music of the decade. In 2018 JT releases 'Filthy' a piece of modern Pop music that interpolates elements of modern dance and electronic and he's career is immediately killed. Calvin Harris spends decades regarded as the lowest Chart Music gets. In 2017 he released Funk Wav Bounces and suddenly 'Slide' is a critical darling. The next year he releases the equally quality House song 'One Kiss' and no one cares. Taylor Swift. 80's pop album 1989 is adored. Modern pop Reputation is hailed as an artistic bomb. The Weeknd. Moody PBR&B was rejected. Peppy 'Can't Feel My Face' is a "modern classic". David Guetta, Zedd, Martin Garrix and similar EDM producers are all seemingly ignored when they briefly entered the spotlight with only Avicii and Clean bandit getting acknowledgements because they spliced Electronica with Folk and Classical respectively. Imagine Dragons, one of the few rock bands unironically trying to push forward into modern Pop styles of production and aesthetic when pure Indie were adored yet are now regarded as "worse than Nickleback". Which is a phrase so incredibly toploaded with subtext that I could double the length of this essay just digging into those three words. I could go on longer with these but I'll leave the rest as names for you to think about yourself: Pharrell Williams, Bruno Mars, Ariana Grande, Fall Out Boy, Jason DeRulo, Bruno Mars, Katy Perry, Charli XCX, Bruno Mars and Mark Ronson featuring Bruno Mars.

Over the course of half-a-decade, the Pop music industry went from rewarded greatly, to heavily disincentivized to promote modern Pop music. Some would seep through the cracks such as Tove Lo and Julia Michaels but the lukewarm and actively hostile responses they respectively got were just further perpetuating the problem. Why would any rational record label want to invest time and money into artists trying to sound modern when all the Toddian eye is going to do is reject them in favour of someone who's tearing ideas directly out of Billy Joel's playbook. This lead to the inevitable crowding out of newer acts who were experimenting in modern genres. The last truly modern act to break in to the upper echelons of popular culture were probably The Chainsmokers. With Roses, Don't let Me Down and Closer all being incredibly popular with no retro era to support themselves only. And they also served as the Toddian eye's most brutal target. Literally being regarded as the worst album of the year.

(I'm aware that Todd himself actually liked The Chainsmokers. So this a good time for a reminder this isn't about his opinions specifically).

The obvious immediate rebuttal to this was posed to be within minutes when I posted the initial thesis for this essay on Twitter: if modern-Pop was killed by an overpraise of retro-Pop. Why isn't retro-Pop dominating the charts instead then?

The problem there is one that many fans of retro-Pop don't want to hear, retro-Pop was a fad, and that fad has now died. Or rather, retro-Pop was a rare occurrence of a meta-fad. It had a significantly longer lifespan than the 2004 indie-rock fad that gave us Mr.Brightside and the 2017 Spanish fad that gave us Despacito because rather than being one specific gimmick that popular culture was enamored with, it was composed of dozens of smaller fads that when placed one-after-another produce the illusion of a trend. If you actually look at the nitty-gritty no particular subfad of retro survived more than one or two artists releasing an album each. Doo-Wop was only popular long enough to give us Meghan Trainor and Charlie Puth while Michael Jackson was only popular long enough to give us The Weeknd and Jason Derulo. ect. ect. So the reason that Run Away With Me by Carly Rae Jepsen and Bills by LunchMoney Lewis weren't commercial successes in spite of seemingly being exactly the kind of retro hit that was at-the-time popular was because neither song were released when that specific era's fad was the in thing. Sure they were retro, but we already had Taylor Swift snap up dreamy 80's pop and DNCE had already filled the quota of glistening-pop-Funk so why would they need another?

There was no way that this essay was going to exist without a nod to E• MO•TION at some point.

By early 2017 we had already essentially run out of genres to co-opt without going into music that's so old it's nearly measured in centuries. So that put the music industry into a Catch-22. They can't invest their promotional time and money into retro-Pop anymore because the fad is well and truly dead (you can't make another Uptown Funk because Uptown Funk already exists) and the general public is going to reject it as a late-to-the-party grasp of desperation. But they can't invest into modern-Pop because Toddian critics are going to reject it outright because it doesn't appeal to the core aesthetics that they like and are going to heap tepid reviews on it which will seriously damage any attempts to market the thing, you can't advertise a 3-star review. The retro-Pop well dried up, and now in the final quarter of 2018 everyone regrets cementing up the old well. Eventually all fads die.

Now it's time to bring Justin Beiber in, who I imagine so far has been the biggest ? lying under this whole argument. Beiber was huge around the same time of the final years of the retro-Pop fad and wasn't making anything remotely retro. He was making incredibly forward-pushing, futuristic sounding dance-pop that had yet to really have an era before now. But he's the final piece of this puzzle: the fad that overtook retro. Justin Beiber was riding the next wave: Tropical. Major Lazer started it, Beiber rode it to the top, Sia and Ed Sheeran followed behind him. That fad had the lifespan of a normal fad - around 14 months. Then that naturally morphed into Spanish music. Then that fad died and nothing came in to replace it so Pop music was left with a hole and nothing to fill it. Once again that left the pop music industry with the more general formulation of the Catch-22. Fad has died so can't promote that without looking desperate, can't promote new Pop music because no one wants to swim in a lukewarm pool where the lifeguard secretly wishes you were someone else.

Hiphop itself is pretty much irrelevant to the story. There's nothing special about Rap as a genre apart from the fact it just happened to be the 2nd place racer when 1st place's tires blew-out. That's not to say that Rap wasn't doing some legitimately incredible things and isn't worthy of success. But all I'm saying is Post Malone, Cardi B, and Kendrick Lamar would've been top-40-popular anyway and there was simply no one else in the way to stop them *not* going to number 1.

This has all had the consequence of turning Pop music, in both forms, into niche genres. Now that the general public isn't consuming Pop because it's what the miasma of popular culture tells them to like Pop has to start appealing to people who're actual Popheads, and when your audience becomes niche-sized they're small enough to make the critical decisions themselves. No one wants to listen to retro-Pop stars that the big labels are offering anymore because their audience now is so small that the audience is cutting out the middlemen and just listening to old music (it's no surprise this has all been at the same time as Africa by Toto's sudden rebirth) while on the other end no one wants to listen to the modern-Pop that labels offer anymore because their audience is making active decisions and is instead listening to Alison Wonderland and Virtual Self. Some like myself have even defected as far as Bill Wurtz.

Seriously, if you’re a person who considers yourself ‘in to’ music and only think of Bill Wurtz as that weird guy who made the history videos then you’re missing out.

I'm not even going to pretend that there's a solution to this problem. Even if I had one I'm an insignificant enough cog in the machine that I couldn't enact it. But I can give my perspective on where the future of the Charts lie.

The main thing to keep in mind is that this is all cyclical. Eventually the general consuming public will get sick of Hiphop and whomever is in 2nd place when that happens is going to capitalize on the exact same sort of collapse that got us in the current situation. Arguably this will happen a lot faster since Toddian was a relatively large shift in critical style compared to 2009 but Hiphop has always had a higher degree of scrutiny applied to it for both fair and unfair reasons. And Pop music isn't totally dead either, arguably the nadir has passed and it’s on the way up not down at the current moment. As much as I dislike it, Weezer's cover of Africa shows there's at least a way back in to mainstream consciousness for Pop music if it decides to go down that route. And acts such as LSD, Bazzi and Halsey are still managing to claw their way into high listen counts through sheer force of quality.

So for now, I'd say enjoy the ride. And enjoy the brief time that Toddian Criticism has put us in where the radio not giving you Pop to listen to puts you in a place where you hear Tessa Violet for the first time instead

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Let's talk about Bowsette as a trans icon.

This post/essay/think-piece/idological-wankery (delete where appropriate) is going to assume you know who Bowsette is. The Bowsette hype train has already come and gone in less than a month so I'm late to the party by this point; if you're reading this some time in the far future for some reason you may want to go do some quick googling as a refresher (might want to keep safe-search on).

Laying my own context on the table: I'm a Trans woman.

The sudden and widespread proliferation of Bowsette has been nothing short of inexplicable. Off the top of my head her rise to temporary dominance in the Mario fanbase is unlike anything before her. The closest two examples that come to mind are Coldsteel the Hedgehog from the Sonic fanbase and Doctor Whooves of My Little Pony fame. But those two characters don't posses the same invisible origins. Coldsteel was a meme, an intentional parody of the fan-creation phenomenon that has lead to the "_____ the hedgehog" game being the most fun you can have with google, and Doctor Whooves (while his personality and backstory are a fan construction) was still based on a background extra who was originally conceived by the show, not its fans. Bowsette's original was in no way directly provoked. The Super Crown was revealed as a tool that can turn Toadette in to Peach, some random twitter user made a standard fan comic where the crown was given to Bowser, and people took to it.

And because we live in 2018, it naturally got sexual very fast. A friend of mine once said "I like Bowsette, but I'm not a fan of the male-gazey-ness" (not quoted verbatim) and that sums it up nicely. There is a lot of porn of Bowsette out there, and now that her icon as a fun novelty character has passed her time as the champion of fan-created erotic pin-ups has begun. Bowsette has become one of the most notable times where a fictional character who is arguably transgender has entered the male gaze as an icon of sexuality whilst not having an undercurrent of fetishism to it. There's no great calling for Bowsette porn where she has a penis. The only ever reference to her Bowser-based past is for some occasional gags which aren't constructed to shame the contrast between Bowser and Bowsette. And the wide variety of the feminine traits and masculine traits in her various portrayals show a very neutral pallet of preconceptions her the artists and fans are going in with. I say arguably because we're only talking symbolically, not literally. Unless we ever got an explanation of the mechanics of Toadette's Super Crown then there's no literal grounding for this analysis. Keep all that in mind, we're talking symbolically.

The fact that no one in Bowsette's fanbase really seems to care about this fact is actually kind of fantastic news for Trans folk out there. The inherent problem with attempting to get Trans representation is one that is hard to talk about seriously thanks to the fact it's the same argument people use for why there shouldn't be representation: it's hard to naturally include it in backstory without making it feel either too-defining or tacked-on. The longterm goal of Trans representation is paradoxically to make our own representation invisible; to try and reach a point where the fact a character could be Trans is textually irrelevant to what the audience is expected to think about them. For example: were there a blockbuster film released tomorrow where a character who presented male is the protagonist, then in a flashback scene the same character were to be presenting as female pretransition and that fact never brought up again, we'd all throw up our hands and applause the representation that we have a Trans lead character, since that is bringing us closer to a world where the exact same setup just makes us go "yeah, I guess".

Bowsette's symbolic transition is a part of who she is, and there'll always been that little pink crown on her head as a reminder of that, but it's not a *defining* part of who she is, and that's what's so important. It's the logical middle step between the seemingly contradictory states of "They're trans, hurrah!" and "They're trans, K." And the fact she's been taken too with both hands (or one hand, with the other heading pants-ward) shows it's working. Nuance often requires we remember that a group is in reality multiple uniquely operating consciousnesses but it's often helpful when wanting to gauge direction to imagine communities as a single person. And in this case the 'person' of society is happy to ignore the whole 'used to be Bowser' thing and just enjoy Bowsette for who she is. This has done wonders for my own self-esteem and I can't imagine I'm alone. Often times I've had trouble thinking of myself as a sexual being thanks to being Trans. Times where I've felt it have always felt *against* that fact, or when I'm lucky *in spite* of being Trans. Even though my partner has been good at reassuring me that they really don't care when it comes to getting freaky and she doesn't think like that; it doesn't stop the fact that media has taught me to think that she can only think of me sexually in the context of being Trans. Bowsette's reputation has been one of the first concrete pieces of evidence that maybe my partner is right and it is perfectly okay for me to be proud of my sexuality without that risk of inherent fetishism.

Of course this doesn't come problem free. Whilst the case for the Super Crown being read as a substitute for transition is one worth considering, it's still an oversimplification of the process to an unhelpful degree. It views the difference between Bowser and Bowsette as a binary state, the whole character shifts from the Bowser body to the Bowsette body with a simple operation. Trans persons in media have always had this concept floating around them that once the decision is made it's a single procedure and you're rockin' an hourglass physique. In reality it's a lifelong arduous grind towards some non-existence idea of what we need to be. Moving from one end of the gender spectrum to the other is not a linear progression but asymptotic, I have to spend the rest of my life with constant injection, pills, procedures and therapies that will forever bring me 'closer' but will never get me 'there'. Embracing Bowsette as-is as a great example of what a symbolically Trans character should be is going to come with a further perpetuation of the simplicity, and I know there will be people out there who won't want to include her because they feel the simplicity problem is bad enough without us accepting a character who's feeding in to it. But as we all know, the capacity for nuance goes down as the size of the group gets bigger and we need to take Bowsette with a grain of salt much like how we need to think of everything more critically than we tend to. That debate is more than worth having.

Obviously I'm not begrudging the existence of Bowsette directly because of this. We're talking about an extrapolation of an extrapolation, we're so far removed from the original intention of the Super Crown that trying to pin any of the negative consequences of Bowsette on the Crown is like blaming the Cow because your White-Chocolate Mocha tastes funny, but it's worthy context to consider when looking at what Bowsette means in the grander scale of where society considers Trans persons.

Bowsette hasn't magically removed all preconceptions of the life of a Transgender person: her sexuality not being considered a Transgender fetish isn't stopping the fact she's still in the 'fetish' category for other reasons, her non-canon nature means that the impact is only indicative of societal conceptions rather than corporate ones where much more of the battle still needs to be fought, and I've somewhat oversimplified how much of the fanbase truly *is* on board with Bowsette (it pains me greatly that the Waluigi fanbase is one of the notable ones with the conservative attitude towards her). But god damn she's interesting, and more than enough for now.