In fact, the worlds of music, film and television are so saturated with industrialised nostalgia that it’s even possible to observe microtrends within the endless renaissance of renaissance itself. Today, the zombie pop culture Reynolds observed is no longer simply prevalent – it is ubiquitous. “There has never been a society in human history so obsessed with the cultural artefacts of its own immediate past,” wrote the critic Simon Reynolds in his seminal book Retromania, a dismayed catalogue of the endless revivals, reboots, reissues, remakes and reunions that characterised the music of the 2000s.
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