The negative impact social media can have is clear, but perhaps the best example of its impact on celebrity is pop star Ayesha Erotica

Editorial

TEEN WOLF

& THE DISTINCTIVE SOUND OF 2011

Fall 2020 Like any era in musical history, the sound of the early 2010s is very distinctive. Categorized by everything from the rise of EDM to Rihanna’s “Loud,” the early 2010s were a very interesting time for musical audiences. Not only did the music from this time period combine influences from music of the previous decades–like the mixing of a soulful sound with pop in Adele’s “21”–, but also laid the foundation for growth and experimentation in the music industry during the later 2010s and early 20s. Though the sound of the early 2010s ranges depending on genre, one could argue that there is a specific sound that is inherently one of the 2010s–dancey, indie rock. Many TV shows and movies during the time utilized the music of the era in their productions. However, one show stands out because of its use of this distinctive indie rock style of music. The MTV teen drama Teen Wolf, which was first released in 2011, has an exceptional soundtrack for its first season that not only ties perfectly into the show itself, but also encapsulates the energy and sound of the early 2010s.

Teen Wolf, the MTV drama, aired from 2011 to 2017. It’s a remake of the 1985 film of the same name featuring Michael J. Fox and follows the story of Scott McCall, a high school teenager that gets bitten and turns into a werewolf. Scott, who is played by Tyler Posey, must learn to control his abilities while simultaneously dealing with deadly forces working against him. The songs used throughout Teen Wolf were picked with such precision that they fit seamlessly into the scenes they’re in. All the lacrosse and party scenes feature dubstep or EDM music, typically from artists like deadmau5 and Wolfgang Gartner, which contributes to the overall high energy nature of these scenes. While the characters on screen are feeling an adrenaline rush from the lacrosse game or the biggest party of the year, the audience is also feeling an adrenaline rush just by listening to the intense music that is paired. These songs are juxtaposed with the lighthearted love songs which are

played during scenes between Scott and his love interest, Allison Argent, who is played by Crystal Reed. Every time the characters are together, softer, more fun love songs are played to emphasize the feeling and euphoria of a first love. “And If My Heart Should Somehow Stop” by James Vincent McMorrow, “Wildfires” by Ohbijou, and “Mouthful of Diamonds” by Phantogram are just a few songs that play during these interactions to fill the watcher with a warm, fuzzy feeling. In all the moments in between, when the characters on the show are living their lives and grappling with the supernatural, a myriad of songs play, from indie rock to slower ballads, all depending on the context of the scenes.

The songs played in Teen Wolf not only fit the plot of the show, but also the sonic landscape of the world in 2011. Adding on to the momentum that was created in the 2000s, artists in the early 2010s continued to experiment with synthetic sounds and try their hand at upbeat, indie rock sound. Artists like Two Door Cinema Club flourished, their 2010 album “Tourist History” making waves in the music industry. It combines elements of indie, rock, pop, and punk to create an album that is uniquely of the early 2010s. Teen Wolf uses this unique sound to its advantage, featuring songs from Tourist History. Two of the most well-known songs from this album, “Do You Want It All” and “I Can Talk,” play during scenes in the fifth episode in which Scott and Allison are at school. This album acted as the blueprint for the other songs that were included in the soundtrack and paved the way for the smaller artists that the showrunners chose to feature. For example, Graffiti6, an English alt-rock band, is a recurring featured artist. Their songs play during quite a few interactions between Scott and Allison as well, seeming to provide Scott with the courage and confidence he needs to go after his dream girl. While some of the other artists in the soundtrack are more underground, it allows the showrunners to really capture the soundscape of 2011. It was a year of more than just “21” by Adele, “Born This Way” by Lady Gaga,” and “Take Care” by Drake. It was a year of diverse artists with different sounds.

Beyond the scope of the show itself, though, the Teen Wolf season one soundtrack was more important than one might assume. In a broader sense, it inspired the young people at the time that were watching the show to listen to music that wasn’t as mainstream. While some of the artists that were featured on the soundtrack have since gone and risen to greater fame, such as Two Door Cinema Club and Ellie Goulding, the majority of the musicians involved were smaller artists. This inclusion of smaller, less popular artists just goes to show how the showrunners of Teen Wolf cared more about the quality of songs than their popularity. Other teen drama shows that were playing on networks such as The CW featured more current pop hits–songs that viewers would recognize throughout the show. Even so, as a show on MTV, Teen Wolf felt a particular commitment to music for the sake of music, not for the sake of commercialism and popularity. This choice to include more underground songs went on to create a larger impact on the fanbase, thus prompting teens to expand their musical horizons.

While it’s safe to say that many TV shows and movies have distinctive soundtracks, there’s something special about one that is crafted with so much care and can serve to define a whole time period in musical history. Teen Wolf does just that by having an excellent soundtrack that encapsulates the sound of 2011. Some viewers may not even realize that they’re listening to an elegantly crafted playlist, but it has a pervasive influence whether you’re aware of it or not.

• Chelsea Henderson (Undeclared) Designer: Kaya Dlouchy (Graohic Design)

Spring 2020

MEME MUSIC

The Integral Bond between Meme Culture and Pop Music

When thinking of meme music, Rick Astley’s “Never Gonna Give You Up” may be the first to come to mind, as its legendary status of the “rickroll” has remained a way to troll people since the joke’s 2006 inception on online forums. This memeification has happened so much so that the song itself is impossible to separate from its comedic repurposing. The vast majority of young listeners today are completely unaware of its 1987 release and subsequent American Billboard Hot 100 chart-topping success, as most of its consumption in the past 14 years has been in the form of rickrolling—its almost 800 million views on YouTube have certainly come as a result of the proliferate joke. The song, which was commercially successful following its release, surely would have faded into obscurity over the next 33 years were it not for meme culture’s relentless search for new material.

The contemporary music and social media landscapes

are dominated by the repurposing of songs into comedy and commentary. TikTok’s sovereignty over pop culture has meant artists have been able to grow without record deals or radio airtime, often transitioning into streaming platform success and even producing some of the most influential public figures in the world. The easily consumable form of music TikTok provides is only the newest form of translating sincere music into comedy, as recognizable choruses and lyrics have been propelled into the mainstream through comedic adaptations since the inception of the internet. Music can be comedic autonomously as well, with comedy artists releasing exclusively joke and parody songs, while other artists self-consciously brand themselves as ridiculous and eccentric. But the epitome of meme music is released by genuine, independent artists, and has been

proven as a way to catapult their careers into mainstream success.

“All Star” by Smash Mouth has received a similar treatment, as it experienced a successful 1999 release and even earned a Grammy nomination, but is now listened to primarily due to its meme status. This status first came about after its use in the 2001 DreamWorks film “Shrek,” allowing the track to continue its trajectory of relevance in pop culture years after its release and leading to its future remixes and adaptations as a meme. Beginning in the late 2000s, “All Star” saw a plethora of parodies to its pop-punk beat and already slightly comedic lyrics, as remixes like “Mario, You’re a Plumber” garnered millions of views. Others capitalized on the introductory lyrics of “Somebody Once Told Me,” translating it into traditional panel-style memes. Like “Never Gonna Give You Up,” the music video for “All Star” saw a consistent increase in viewers throughout 2015 and 2016, and has since amassed over 300 million, easily making it one of the most enduring hits of the past 20 years.

Music being recontextualized into a meme is very different from music released as satire or comedy with the intention of being consumed as such. The comedy music genre is blatant in its desire to entertain through laughter, with artists like “Weird Al” Yankovic having productive and successful careers centered around both original songs and comedic remixes which amass high viewer amounts. This music is less of a meme as it is a direct joke delivered in the form of lyrics and composed in a serious and professional manner, often with high production value and engineering. The Lonely Island is perhaps the most blatant comedy music, as the trio of Saturday Night Live comedians began explicitly using music as a medium for jokes in 2001. Peaking around 2009-2011, the group has released dozens of original, often vulgar and obscene, tracks garnering hundreds of millions of views and featuring legitimate artists like Akon, legitimizing them as musicians and more than just comedians. But perhaps the most successful type of meme music is created by lesser known artists who try something new. Doja Cat’s masterpiece “Mooo!” is the perfect case study, as the smaller pop artist had been releasing more conventional music for years before the single propelled her to superstardom. Although her previous music was not necessarily serious or intense, “Mooo!” was still a significant stylistic departure and differed from the humor used by comedy artists as it is indebted more to internet culture and even samples Kelis’s legendary “Milkshake.” Thus, its status as a “meme” arose, as Doja knew when producing the track the inherent satirical value it had compared to typical releases. Written and produced in a single day along with its cinematic gem of a music video, “Mooo!” quickly attracted a wide audience in its appeal of real, genuine humor, and it not being just another song from a manufactured pop idol. Doja’s chill instrumental accompaniment masterfully pairs with the single’s absurd theme of her as a cow, immediately branding it as a meme through its iconic line “bitch I’m a cow.” The horrible green screen in its music video adds to its draw as a song representative of the young rapper’s personality and emphasizes her candid creative process. This pointed humor explains why the song has been so popular, catalyzing the further investigation into an artist with massive potential to become a pop superstar. “Mooo!” undeniably single-handedly launched Doja’s career, catapulting her into the spotlight in which she continued to excel, and is now one of the most recognizable figures in modern pop music. While the repurposing of music into meme form and comedy music have already been seen as viable paths to success, the phenomenon of a song transitioning its primary consumption into meme form can also work the other way around—from memes to music, some individuals have turned their internet notoriety into music careers and streaming success. The most notable example of this is Bhad Bhabie, who morphed the classic top text/bottom text meme format of her iconic “cash me ousside” Dr. Phil episode into a full-fledged music career as a serious artist. At only 14 years old, the artist’s debut single made her the youngest rapper and second youngest female artist ever to debut on the Billboard Hot 100, with her next two singles also hitting the charts. This and the release of her well-produced debut mixtape “15,” although met with mixed reviews, proves how someone who entered pop culture primarily as a meme can become a

legitimate artist with commercial success. The adaptation of music into memes has been responsible for the resurgence of older music that otherwise would have been lost in obscurity, while also opening the door for newer artists to showcase their talent and bring their personalities into the spotlight of modern music. Bhad Bhabie and Doja Cat, among many others, owe their massive success to meme culture, either by first appearing as one or by producing meme-worthy, quality music. Separate from the comedy music genre, the massive success of artists due to memeification shows the inseparability of meme culture and the music industry, and how together they shape the landscape of contemporary music and its consumption.

• Bryan Grady (Political Science) Designer: Norman Zeng ( Graphic Design )