In this week’s post, I draw a connection between Moore’s discussion of the growing punk and grunge scenes in the 90s, and Nguyen’s critique of the white, heterosexual, middle-class nature of punk, despite the genre’s outward appearance as more progressive, anti-establishment, and anti-oppression. Moore argues that the particular “anxiety, depression, and loneliness” (117) that many youth felt in the 90s contributed to the unique sound and culture of grunge music. One mechanism of riding this wave of downward mobility, because of “increasing expectations and constricting opportunities,” was grunge’s turn towards a “loser” aesthetic. Embodied by many white male artists during this time, it was seen as a way of “invert[ing] social hierarchies,” or perhaps a subversion of meritocracy that runs rampant in American culture. In my opinion, this persona that is celebrated in grunge and other musical forms is destructive to the genre, in that it restricts access to many oppressed or minority populations. Essentially, being able to embody the “loser” or mediocre aesthetic is a privilege. As Nguyen explains, “it’s a privilege to believe that you can extract yourself from the context of social relations and imagine yourself the sole shaper of your fate…” As I understand it, this “rugged individualism” that Nguyen talks about is essentially the embodiment of privileged white mediocrity.
The centralization of this “reformed” white male persona is not even remotely effective in removing barriers and obstacles to success for oppressed communities. As Arthur Chu explains regarding recent Grammy controversies, “part of white privilege is, even for hard-working, talented artists who deserve success, getting graded on a curve.” This is a phenomenon that runs rampant in many industries, not just music. Think about the countless comedy films that center an extremely mediocre, “loser” white man, who ends up saving the world or getting the pretty girl… What are those narratives saying about race? About white privilege?
This week’s selections are not as valuable towrads a feminist reformation of these ideas, I must admit. They are examples of white mediocrity that have frustrated me for years now… and until now, I didn’t have the vocabulary to talk about it.
https://www.youtube.com/watch?v=HdzI-191xhU Odesza, for example is an Indietronica duo from my hometown who have had great success in the past few years. They are a perfect example of how mediocre white individuals with the privilege of time and money have a much clearer path to success and popularity than artists of color.
https://www.youtube.com/watch?v=XyjDVEPnhYw Hobo Johnson perfectly embodies elements of the celebrated “loser” that Moore talks about. His music is undeniably sticky and friend-zonie, I really hate Hobo Johnson.
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