“Don’t Look Back:” A Pop Revival Primer, Part III (2010)

Living in 2010 it was easy to see that things were changing. Florence and the Machine had a hit album; Mad Men was finally getting the mainstream attention it deserved. Straight storytelling was taking the place of stand-up comedy, wayfarers had replaced aviators as the sunglass of the masses, and neon was king again.

It was a victory for good taste, but at the same time America saw the debut of Ke$ha, Jersey Shore, and those weird shoes with the toes. To be a hipster meant living with the fear that every new and exciting cultural phenomenon would be quietly crushed. But they weren’t.

The term Pop Revival was coined by the Fling in May of 2010, who described their sound as sixties pop mixed with nineties technology. In faraway Australia, Dream Pop* was being born. And driven by Mad Men, the aesthetic style of the 1960s came back in a big way. Television had displaced radio as a cultural catalyst, and the success of Pop Revival owes as much to Don Draper as it does to Alex Turner, Jon Fratelli, Cassie Ramone, or Ezra Koenig.

Suddenly, everybody wanted a piece of the action.

*The term “dream pop” is thirty years old, but the original usage relates the the same naming problem that gave us the troublesome terms “post-punk,” “new wave,” and worst of all “indie.” If you are curious what the problem is, I can explain it all in the comments.

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2 comments on ““Don’t Look Back:” A Pop Revival Primer, Part III (2010)

  1. Robbie says:

    What’s problematic about the term ‘dream pop’?

    • Sam Huddy says:

      Because it originally referred to an earlier movement; a school of New Wave rock in the mid-1980s, and gives the impression that the current “Dream Pop” is a continuation of the original.

      I may have thought about this too much.

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