It makes sense, doesn't it, that Gawker would do the profile of the man behind Rebecca Black's Friday? Meet Ark Music Factory CEO Patrice Wilson.
Where did Wilson get the inspiration for such lyrics as "Yesterday was Thursday/Today is Friday?" "I wrote the lyrics on a Thursday night going into a Friday," he said. "I was writing different songs all night and was like, 'Wow, I've been up a long time and it's Friday.' And I was like, wow, it is Friday!"
The immense spike of interest in this otherwise unremarkable video begs for an explanation. Needless to say, I enjoy reading the attempts to explain the phenomenon more than the video itself. From one example:
Rob: I like the song too, but I don’t find that embarrassing. It feels like a confirmation of the suspicion that the best pop music must aspire to a formal purity that comes at the expense of content. The best pop songs are the emptiest. At that point, pop music has nothing to do with subjectivity or identity construction: You don’t become empty when you hear it; instead you have your own fullness confirmed.
To shift the terminology, I think we’ve been in post-Fordist relations of pop-culture production for some time now, with consumers driving the innovations in meaning that culture-industry firms then harvest and exploit. They increasingly supply the playground itself rather than the specific jungle gyms. No one owns the malleable, mutable meanings of pop culture, but the process and the medium for those transmutations is definitely owned. This is the essence of what Jodi Dean calls communicative capitalism.
Next: 1,000 words on the great existential crisis of our time: which seat can I take?