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Postmodern pop music 197

antagonisms. In order to create new necessities, they are increasingly constructed
as a specific category of consumer, which stimulates them to seek a financial auto-
nomy that society is in no condition to give them (164).

Postmodern pop music

A discussion of postmodernism and popular culture might highlight any number of
different cultural texts and practices: for example, television, music video, advertising,
film, pop music, fashion. I have space here to consider only two examples, television
and pop music.
For Jameson (1984) the difference between modernist and postmodernist pop
music is quite clear: The Beatles and The Rolling Stones represent a modernist moment
against which punk rock (The Clash, for example) and new wave (Talking Heads, for
example) can be seen as postmodernist. Andrew Goodwin (1991) has quite correctly
pointed out that Jameson’s compressed time-span solution – pop music culture’s rapid
progression through ‘realism’ (rock’n’roll), ‘modernism’, ‘postmodernism’ – enabling
Jameson to establish a modernist moment against which to mark out a postmodernist
response, is a very difficult argument to sustain. As Goodwin convincingly argues, The
Beatles and The Rolling Stones are as different from each other as together they are dif-
ferent from The Clash and Talking Heads. In fact, it would be much easier to make an
argument in which the distinction is made between the ‘artifice’ of The Beatles and
Talking Heads and the ‘authenticity’ of The Rolling Stones and The Clash.
Goodwin himself considers a number of ways of seeing pop music and pop music
culture as postmodernist. Perhaps its most cited aspect is the technological develop-
ments that have facilitated the emergence of ‘sampling’. He acknowledges that the par-
allel with some postmodern theorizing is interesting and suggestive, but that is all it is
– interesting and suggestive. What is often missed in such claims is the way in which
sampling is used. As he explains, ‘textual incorporation cannot be adequately under-
stood as “blank parody”. We need categories to add to pastiche, which demonstrate
how contemporary pop opposes, celebrates and promotes the texts it steals from’
(173). We also need to be aware of ‘the historicizing function of sampling techno-
logies in contemporary pop’ (ibid.), the many ways in which sampling is ‘used to
invoke history and authenticity’ (175). Moreover, in regard to Jameson’s argument
about nostalgia replacing history, ‘it has often been overlooked that the “quoting” of
sounds and styles acts to historicize contemporary culture’ (ibid.). Rap is perhaps the
best example of sampling being used in this way. When asked to name the black means
of cultural expression, the African American cultural theorist Cornel West (2009),
answered, ‘music and preaching’. He went on to say,

rap is unique because it combines the black preacher and the black music tradi-
tion, replacing the liturgical ecclesiastical setting with the African polyrhythms of