bramble posted this.
“Thus the dreamy universality of the pop song is always at odds with its fate as a cultural commodity, disposable as it is consumable, destined for its paradoxical fate on classic hits radio: oh yeah, remember when that song was timeless?
Such a tension is part of pop’s nature. The rare song that seems for a time to escape from the iron law, that endures as a hit for an improbable span, acquires a mythic sense in accord with having seemingly transcended the gravity of pop itself. The sublimity of “Groove Is in the Heart” lies in its mythic endurance, but also in the extent to which the song matched this market affect with its own, a song of such flirtatious unconcern musically and lyrically that it felt only reasonable it should elude the tensions of competition, float free — for a while — from the narrative rise and fall of the pop single…” jane dark’s sugarhigh!: no walls only the bridge (chapter four excerpt)
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Such a tension is part of pop’s nature. The rare song that seems for a time to escape from the iron law, that endures as a hit for an improbable span, acquires a mythic sense in accord with having seemingly transcended the gravity of pop itself. The sublimity of “Groove Is in the Heart” lies in its mythic endurance, but also in the extent to which the song matched this market affect with its own, a song of such flirtatious unconcern musically and lyrically that it felt only reasonable it should elude the tensions of competition, float free — for a while — from the narrative rise and fall of the pop single…” jane dark’s sugarhigh!: no walls only the bridge (chapter four excerpt)
