In January, Scooter Braun—the head of Schoolboy Records and manager to Justin Bieber and Ariana Grande, among others—gave us our first indication of how Carly Rae Jepsen would be following up “Call Me Maybe.”
True, she followed it up with a really great pop album that got unfairly ignored, but this is different. This is the follow up to a song of the summer, an earworm on a scale we rarely see from a “debut” artist (the quotation marks referring to her previous success in Canada, typically erased in her media narrative following her breakout success). And as Braun’s comments to Billboard indicate, there was pressure on Jepsen to recapture the success that started it all:
“Her new single is coming in March. I told her that she couldn’t come out with anything unless it was on the level of “Call Me Maybe.” And, now we have a new one that is on that level.”
That’s a lot of pressure for a new single, and I would argue that “I Really Like You” delivered as best it could: it’s not “Call Me Maybe,” but nothing can recreate the sense of discovery that came with that song. The narrative of an unsung artist being elevated to the status of sudden stardom through the help of some famous friends was not just about Justin Bieber/Selena Gomez lipdubs—it was that the song was something people discovered, and then shared, and then acted out themselves and shared again. It became, for lack of a better term, a “cultural phenomenon” in a way we rarely see, and in a way that makes creating something on the same scale nearly impossible.
“I Really Like You” succeeds in being catchy, and got the type of attention it deserved: lots of headlines debating whether or not it lives up to “Call Me Maybe,” with none of them being able to definitively claim the single lacks the same DNA musically. The issue is that there’s no way to recreate a cultural phenomenon, which is a big part of why my personal interest in Jepsen’s followup has more to do with the album—packed to the gills with interesting producers and collaborators—than with the single, which based on Braun’s comments is engineered to tap into a vein that I would argue was a product of a specific time and a specific set of circumstances.
February 15th, 2011
There is nothing wrong with Justin Bieber.
Maybe it’s just my Canadian pride, but the kid is inoffensive to the point of being sort of charming. Especially recently, given his playful send-ups of his celebrity on The Daily Show and a bunch of other late night series, I’ve generally liked him, and while I wouldn’t say his music is exactly my taste I will say that it has a certain charm. He’s not a particularly wonderful singer, but that’s not really the point, and so the cultural vitriol surrounding him confounds me at points.
There are, however, plenty of things wrong with the Justin Bieber phenomenon. The problem isn’t Bieber himself, but what he has come to represent, and his cultural ubiquity relative to his actual talent (which is not “insignificant,” but is not exactly befitting his success). And it seems almost impossible to separate the latter from the former, to see the decent kid behind the phenomenon: while Never Say Never as a film might actually do a lot to humanize Bieber, the very idea of a teenager receiving a 3D Concert documentary only fuels the impression that his fame has gotten out of control.
In case you haven’t figured it out, Glee is a lot like Justin Bieber. At some level, there is a basic competence, a potential to be something entertaining: at a more macro-level, however, the Glee phenomenon has become an epic distraction, infringing on our enjoyment of the series on a regular basis.
On some level, “Comeback” should be seen as a return to basics: like episodes like “Duets” or even last week’s “Silly Love Songs,” the Glee club receives a simple theme and is asked to perform numbers relating to them. However, while those episodes felt united in their loose themes, there was no such unity to be found here. The result is a scattershot and problematically ephemeral hour which succeeded only in laying out some basic exposition for where the show will be headed in the weeks ahead.
And that’s not exactly looking like a “Comeback.”
Why Justin Bieber is not the Gleepocalypse
January 9th, 2011
In light of recent reports that Glee would be doing an episode based around the musical oeuvre of Justin Bieber, there was plenty of snark.
And trust me, I wanted to be right there with them.
However, I think we need to take a step back for a moment. This isn’t a show which needs to be appealing to the current trends – or, if you prefer, fads – in order to stay on the air, which means that this wouldn’t really desperate. Sure, it would be shameless, but in the context of how Glee has built previous theme” episodes I’d actually say that Bieber would be a step up – narratively. While it may not offer the deep catalogue of Madonna, or the cultural significance of a Britney Spears, the fact of the matter is that the Justin Bieber story actually goes back to the series’ very roots and says something about young people striving for greatness.
And sure, Ausiello’s initial report at the new TVLine has since been debunked by Ryan Murphy, but the initial reaction to the news says something about how we respond to Glee‘s use of particular artists, and how the definition of “Theme Episode” is constantly shifting. Yes, Bieber’s music is not the most challenging aural experience, and his life story just so happens to be heading to the big screen days before the episode featuring at least one of his songs is scheduled to air, but that doesn’t necessarily make it any less effective as a storytelling device.
At the end of the day, isn’t that what matters?