The Myth of Popularity

WARNING: Everything I say forthwith is purely speculative based on a rough approximation of a presented view of how a part of our world works, plus some vaguely related stuff I happen to know. It is very likely to differ from your own personal view of things, so please don’t get angry with me if it does.

Bad TV and cinema is a great source of inspiration; not because there’s much in it that’s interesting, but because there’s just so much of it that even without watching any it is possible to pick up enough information to diagnose trends, which are generally interesting to analyse. In this case, I refer to the picture of American schools that is so often portrayed by iteration after iteration of generic teenage romance/romcom/’drama’, and more specifically the people in it.

One of the classic plot lines of these types of things involves the ‘hopelessly lonely/unpopular nerd who has crush on Miss Popular de Cheerleader and must prove himself by [insert totally retarded idea]’. Needless to say these plot lines are more unintentionally hilarious and excruciating than anything else, but they work because they play on the one trope that so many of us are familiar with; that of the overbearing, idiotic, horrible people from the ‘popular’ social circle. Even if we were not raised within a sitcom, it’s a situation repeated in thousands of schools across the world- the popular kids are the arseholes at the top with inexplicable access to all the gadgets and girls, and the more normal, nice people lower down the social circle.

The image exists in our conciousness long after leaving school for a whole host of reasons; partly because major personal events during our formative years tend to have a greater impact on our psyche than those occurring later on in life, but also because it is often our first major interaction with the harsh unfairness life is capable of throwing at us. The whole situation seems totally unfair and unjust; why should all these horrible people be the popular ones, and get all the social benefits associated with that? Why not me, a basically nice, humble person without a Ralph Lauren jacket or an iPad 3, but with a genuine personality? Why should they have all the luck?

However, upon analysing the issue then this object of hate begins to break down; not because the ‘popular kids’ are any less hateful, but because they are not genuinely popular. If we define popular as a scale representative of how many and how much people like you (because what the hell else is it?), then it becomes a lot easier to approach it from a numerical, mathematical perspective. Those at the perceived top end of the social spectrum generally form themselves into a clique of superiority, where they all like one another (presumably- I’ve never been privy to being in that kind of group in order to find out) but their arrogance means that they receive a certain amount of dislike, and even some downright resentment, from the rest of the immediate social world. By contrast, members of other social groups (nerds, academics [often not the same people], those sportsmen not in the ‘popular’ sphere, and the myriad of groups of undefineable ‘normies’ who just splinter off into their own little cliques) tend to be liked by members of their selected group and treated with either neutrality or minor positive or negative feeling from everyone else, leaving them with an overall ‘popularity score’, from an approximated mathematical point of view, roughly equal to or even greater than the ‘popular’ kids. Thus, the image of popularity is really something of a myth, as these people are not technically speaking any more popular than anyone else.

So, then, how has this image come to present itself as one of popularity, of being the top of the social spectrum? Why are these guys on top, seemingly above group after group of normal, friendly people with a roughly level playing field when it comes to social standing?

If you were to ask George Orwell this question, he would present you with a very compelling argument concerning the nature of a social structure to form a ‘high’ class of people (shortly after asking you how you managed to communicate with him beyond the grave). He and other social commentators have frequently pointed out that the existence of a social system where all are genuinely treated equally is unstable without some ‘higher class’ of people to look up to- even if it is only in hatred. It is humanity’s natural tendency to try and better itself, try to fight its way to the top of the pile, so if the ‘high’ group disappear temporarily they will be quickly replaced; hence why there is such a disparity between rich and poor even in a country such as the USA founded on the principle that ‘all men are created free and equal’. This principle applies to social situations too; if the ‘popular’ kids were to fall from grace, then some other group would likely rise to fill the power vacuum at the top of the social spectrum. And, as we all know, power and influence are powerful corrupting forces, so this position would be likely to transform this new ‘popular’ group into arrogant b*stards too, removing the niceness they had when they were just normal guys. This effect is also in evidence that many of the previously hateful people at the top of the spectrum become very normal and friendly when spoken to one-on-one, outside of their social group (from my experience anyway; this does not apply to all people in such groups)

However, another explanation is perhaps more believable; that arrogance is a cause rather than a symptom. By acting like they are better than the rest of the world, the rest of the world subconsciously get it into their heads that, much though they are hated, they are the top of the social ladder purely because they said so. And perhaps this idea is more comforting, because it takes us back to the idea we started with; that nobody is more actually popular than anyone else, and that it doesn’t really matter in the grand scheme of things. Regardless of where your group ranks on the social scale, if it’s yours and you get along with the people in it, then it doesn’t really matter about everyone else or what they think, so long as you can get on, be happy, and enjoy yourself.

Footnote: I get most of these ideas from what is painted by the media as being the norm in American schools and from what friends have told me, since I’ve been lucky enough that the social hierarchies I encountered from my school experience basically left one another along. Judging by the horror stories other people tell me, I presume it was just my school. Plus, even if it’s total horseshit, it’s enough of a trope that I can write a post about it.


Finding its feet

My last post on the recent history of western music took us up until the Jazz Age, which although it peaked in the 1920s, continued to occupy a position as the defining music genre of its age right up until the early 1950s. Today’s post takes up this tale for another decade and a half, beginning in 1951.

By this time, a few artists (Goree Carter and Jimmy Preston, for example) had experimented with mixing the various ‘black’ music genres (country and western, R&B and a little gospel being the main ones) to create a new, free rocking sound. However, by the 50s radio, which had been another major force for the spread of jazz, had risen to prominence enough to become a true feature of US life, so when Cleveland DJ Alan Freed first started playing R&B intentionally to a multiracial audience even his small listenership were able to make the event a significant one. Not only that, but the adolescents of the 50s were the first generation to have the free time and disposable income to control their own lives, making them a key consumer market and allowing them to latch onto and fund whatever was new and ‘cool’ to them. They were the first teenagers. These humble beginnings, spreading ‘black’ musical experiments to the masses, would later become the genre that Freed himself would coin a name for- rock and roll.

Rock and roll might have originally been named by Freed, and might have found its first star in Bill Haley (the guy wrote ‘Rock Around The Clock’ in 1955), but it became the riotous, unstoppable musical express train that it was thanks to a young man from Memphis, Tennessee, who walked into Sun Records in 1953 to record a song for personal use. His name was Elvis Presley.

’53 might have been Presley’s first recording experience, but his was not a smooth road. In eighth grade music he is reported to have only got a C and be told that he couldn’t sing, a claim that was repeated when he failed an audition for a local vocal quartet in January 1954. However, in June of that year he recorded a 1946 blues hit ‘That’s All Right’, totally altering what had been a lovelorn lament of a song into a riotous celebration. He, Winfield Moore and Bill Black (the guitarist and bassist he was recording with) had created a new, exciting, free-flowing sound based around Presley’s unique singing style. Three days later, the song aired on local radio for the first time and calls flooded in demanding to know who the new singer was. Many were even more surprised when they found out that it was a straight laced white boy playing what was previously thought of as ‘black music’.

Completely unintentionally, Elvis had rewritten the rulebook about modern music- now you didn’t have to be black, you didn’t have to play the seedy venues, you didn’t have to play slow, old, or boring music, you didn’t have to be ‘good’ by classical standards, and, most important, your real skill was your showmanship. Whilst his two co-performers in the early days were both natural showmen, Presley was a nervous performer to start with and his legs would shake during instrumental sections- the sight of a handsome young man wiggling his legs in wide-cut trousers proving somewhat hysterical for female sections of the audience, and worked the crowd into a frenzy that no previous performer had managed.

Elvis’ later career speaks for itself, but he lost his focus on writing music in around 1960 as, along with the death of Buddy Holly, the golden years of rock ‘n’ roll ended. However, the 50s had thrown up another new innovation into the mix- the electric guitar. Presley and his competitors had used them in their later performances, since they were lighter and easier to manoeuvre on stage and produced a better, louder sound for recorded tracks, but they wouldn’t come to their own until ‘the golden age of rock’ hit in the mid 60s.

By then, rock n roll had softened and mellowed, descending into lighter tunes that were the ancestors of modern pop music (something I’m not sure we should be too thankful to Elvis for), and British acts had begun to be the trailblazers. British acts tended towards a harder sound, and Cliff Richard enjoyed a period of tremendous success in the USA, but even then the passage of rock had eased off slightly. It wasn’t new any more, and people were basically content to carry on listening- there wasn’t much consumer demand for a new sound. But then, the baby boomers hit. The post-war goodwill in the late 40s and early 1950s had resulted in a spike in the birth rate of the developed world, and by around 1963 that generation had began to grow up. A second wave of teenagers hit the world, all desperate to escape the dreary boredom of their parents’ existence and form their own culture, with their own clothing, film interests, and, most importantly, music. The stage was set for something new to revolutionise the world of music, and the product that did was made in Britain.

Numerous bands from all over the country made up the British rock scene of the early 1960s, but the most prolific area was Liverpool. There rock and roll once again underwent a fusion with subgenres such as doo wop, and (again) R&B, formulating itself into another new sound, this time centred around a driving, rhythmic beat based upon the electric guitar and drum kit. These beats formed a key part of the catchy, bouncy, memorable melodies that would become the staple of ‘beat’ music. This had taken over the British music scene by 1963, but by 1964 a British song had made number 1 in the US charts. It was called ‘I Want To Hold Your Hand’, and was written by four Liverpudlians who called themselves The Beatles.

To this day, the Beatles are the most successful musicians ever (sorry fellow Queen fans- it’s true). Their first appearance on the Ed Sullivan show in 1964 set a new record for an American TV audience (over 70 million)- a show they only did because Sullivan’s plane had been forced to circle Heathrow Airport in the middle of the night so that this band he’d never heard of could land first and wade their way through their screaming fans. Sullivan decided then and there he wanted to interview them. Along with other British acts such as The Rolling Stones and The Kinks, beat took the US by storm- but they were only the first. The Beatles’ first and greatest legacy was the structure of a rock band; all band members wrote their own songs based on the drums & electric guitar. All that was left was for acts like the Stones to cement singer/lead guitarist/bassist/drummer as the classic combination and the formula was written. The music world was about to explode; again

And this story looks like taking quite a few more posts to tell…